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Einstein On The Beach

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Posts posted by Einstein On The Beach

  1. I know it's an entirely different animal, but British Brass Bands write all parts, aside from the bass trombone and percussion, in treble clef. There is an interesting article on brass band scoring here.

    Interesting. Is this common custom in American brass ensembles as well? Composers in the UK have always been a bit...odd.

  2. But if you're writing it for a G contra line and you're writing in bass clef, what set of fingerings do you write it for? Bb fingerings? C fingerings? What about Eb, or F? This is why transposed bass clef is a bad idea, it loses the universality that treble clef holds. If you see a C below the staff in treble clef written for the instrument you're holding, you know exactly what note to play, even if in reality it's a G, or a Bb, or an Eb. Brass bands around the world have written their music in all treble clef for a very long time for exactly this reason. Rather than convincing drum corps guys to learn bass clef, I encourage tuba players to learn to read treble clef; a good tuba player ought to be able to read any music, rather than just what's native to his horn.

    Some of what you say makes sense, but I'm still calling shenanagins on this post. Now mind you, I'm not a tuba player, but would someone care to tell me how writing tuba parts in treble clef is a good idea at all. Seriously.

    Also, correct me if I'm wrong, but since all brass instruments are built based on the overtone series, this gets rid of the need to learn an entirely new set of fingerings for different horns. C is open on a Bb, Eb, F, G, or C trumpet. So what is the issue? Again, I'm not a tuba player and I don't feel like opening up an orchestration book right now. Explain my good man.

  3. ...I may be completely wrong, but I think Malambo13 was being sarcastic in his post. Because, you know, the picture of the trumpet was about 1.5x larger than the picture of the G bugle. Also, the rest of his post seems slightly untrue.

    IMHO IMHO IMHO

    Ravedodger kind of knows what he's talking about...

    Also, I don't know how any of that would be untrue, it's pretty simple physics.

  4. Coooool. Too bad I can't get the first two off iTunes (except for the Adams, but I'd have to buy the whole album). What I can hear of the Adams sounds awesome, though.

    I can send it to you if you'd like. Of course through completely legal means...of course...

  5. I too am concerned with the type of musician all corps are getting these days. Contrary to popular belief on this board, the quality level of the individual musician is declining. I think the true musicians, (Jeff Kivet, Harpo Blum, Chris Metzger, Dave Coolidge, Sean Owens, Edwin Bogart, Albert Dijikshroom, Chezirino, Morgan Larson, Scotty from Devils fame 93' Schipper)true players want nothing to do with the "music" most corps do these days. I only put up soprano musicians but the same holds true for all sections. If I were of age now adays, I would opt to go to Brevard, Blue Lake or just practice on my scales at home.etc...

    You just don't hear the near virutuosic stuff coming from brass lines anymore. Think back to 83. Madison. Listen to the cadenza in Strawberry Soup. Listen to the line Rich Labrizzi plays before Sean wails on the most orgasmic riff I've ever heard.

    Again most people on this board always rant about how hard stuff is now. I say bullcrap. The stuff most corps did in those days had more independent lines. That's more responsibility on the individual corps member then the block scoring you here now.

    Discuss.

    Very good points made, I agree for the most part.

  6. I'm more interested to see what happens in the guard area with Blue Stars. To me, that was their biggest downfall last year, particularly after a solid 2006 guard. Will Shapiro attract enough talent, or will they spend the first half of the year filling holes again? I saw them in early July this past summer and they were still recruiting guard at their souvie table.

    I don't think Shapiro will have trouble attracting talent

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