sburstall Posted June 14, 2007 Share Posted June 14, 2007 Spell my name right, dangit! :P Already acting like an ivory towered professor? :P Congrats on your accomplishment. Quote Link to comment Share on other sites More sharing options...
SkyRyder_FMM Posted June 15, 2007 Share Posted June 15, 2007 I worked on "......and the mountains rising nowhere" in grad school. It was a blast to conduct. I always thought it could be interesting on the field. Hmm, I played this in college, and I never thought of it as something that would work on the field. There were only about 3 relatively short phrases that might be usable, but then you have to find another 10.5 to 11 minutes worth of material to complete the show. Whistling, water goblets, no time signature, lots of little bings and plings from the piano, mallet perc,and woodwinds, very little melodic lines, etc. It's a cool piece, but not something that would work on the field. If it were on the field, it might send the fans for the nearest exit, including right over the top railing. Quote Link to comment Share on other sites More sharing options...
derek334 Posted June 15, 2007 Share Posted June 15, 2007 Schwantner definitely projects a different take on both the horizontal and vertical aspects of composition. One look at his scores and its kind of like looking at a visual storyboard of sound. Very interesting to shape from the podium and to follow as a listener as it all unfolds. Not so great to play though from a trumpeter's perspective... especially when you're stuck sitting next to someone who can't seem to understand the linear importance of exact rhythmic precision. First time I ever wanted to just bust out a gok block in the middle of rehearsal or tape a metronome up to someone's ear... Quote Link to comment Share on other sites More sharing options...
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