Fortisimo

Lol, our band always marches better at night, for sure. If I remember correctly though, we didn't have the greatest spot.. we were preceded by LD Bell and followed by Haltom, if I remember correctly. Our show last year was Brazoswood's show from this year.

Lmao, I can't remember who that person is that originally posted that, but it's probably also a symptom of being part of trumpet line... because, you know, we own. Lmao... but yeah, we'll see what next season is like. No one can really know for sure....

Ummmmm, I dunno what you are really trying to say... UIL marching? LIke Div I II III IV or V? Or Area or State or individual All-City All-Region etc tryouts or what?

Lmao, did you see the other LD Bell person who posted on my xanga? Do they just have nothing better to do? Lmao.

Lmao, yeah, 'tis pimp!

Lol, less competition. Man, I would love to write shows for bands.. like, on the side as sort of a paid hobby... if I hit it big I would totally take a dump on Key Poulan's porch. I just might anyways!

Lmao, I see.... sort of a faked theme

YEah, I have mine on a realy high res. And the file sharing software you see is just a small piece.... you think I pay for my compositional software? HAHA!

Hey, we tied Richland at area, ya know. Just thought I should mention... youknow, in reply to the story about Richland... but I understand the rest as well. Hopefully there will be at least 25 bands to go to area... hmm... I think we have a good chance of knocking off enough to go to state either way though. No body else has mentioned this, but I get the feeling that compared to next year, Mr. Hart was just messing around this year. I get teh feelig the hammer is coming down next year in a big way. Of course, Mr. Lowe, our percussion director, instead of going to run the perc. for phantom regiment over the summer is actually staying back with us to whip the drumline into shape from the get go on his own. Plus, if you look at our younger percussionist's performance lately... well, let's just say our battery certainly won't leave anything to be desired. Not to mention the fact taht he does an amazing job at slapping us into shape as well. In addition, we are going to have the UTA marching director around (you know, the one who helped us those 2 days before North Texas) will be around pretty frequently as well. And we can rest assured we'll have another amazing show next year; according to my sources, we will be using the guidance of much of the head Phantom Regiment staff to select/develop our show for next year. There's probably more, but I gotta go do something...

http://tinypic.com/hwbntg.jpg Here it 'tis. Lmao, you can see my little bits and piecwes of songs and my music, drill, 3d model and other programs.... so many random things.

I suspect that Copell can... oh, wait, that's not appropriate... lmao, well, what about Richland as well? They seem to have done pretty well for themselves...

Wtf is a Pickerdy 3rd? I'm not much for knowing the names of cadences, But I do enjoy throwing a nice sus resolve every once in a while; you know, sus4->Major->sus2->Major, or some alteration of that.

Lmao, nice reply. But it is true, if you look at it, there are a good number of texas bands there; 2 from the DFW metroplex alone.

HOLY CRAP That 1993 drill in the percussion feature is PIMP.

Hmm.... I usually have a verfy broad idea of what I want to do in a piece... then I audiate in my head what I think I want it to sound like, then I take my best shot at what the different chords I heard were, then I put it down in the computer and listen to it. Then, I might tweak it, or leave it as is, and then I just build off of that and write linearly (AKA horizantally) and I just put what I think should sound good. But to connect different ideas in your music... well, I like to use cymbal effects and buildups for transitions into intense sections and chord modulation to flip into not so intense sections. Or you can even just slap full band rests in, or break you established patterns down into an insanely complex chord progression which chances are almost no one will be able to understand, and just end up on the chord of the section you are transferring into. But I guess I really write by ear. Or mind. Or w/e.

Ok, I will, if you go listen to my suite. Ok, muzic... let's see. Lol, it starts of with a chord progression similar to what I use to warm up... ok... Sorta bland.. but ok... I like the aprt where it goes into the ostinato style at 1:10 with the one rythm part and the melody on top of it. It's interesting... Ode to Monkey... pretty good use of trills here... seems pretty whimsical; I imagine that is what you were looking for. Hmm, the music shifted, but it was pretty abrupt.. you might want a bit more transition. pretty good section here. Pretty short song.... you might want to rework the part in between the two sections for a smoother change. One Rythm...This is pretty cool. You seem to be using the repetiotion pretty well. I like the part where the brass come in first. That french horn solo is pretty akward though... you may want to redo that... wow, this song is even shorter.. ah well Dr.; Lol, pretty random instrumentation... I can't really catch the ideas you're trying to convey here... and that rachet ting is annoying as heck I'm afraid. Ok, it's gone. It seems to have goten a bit better... Hmm, it seems as though you were going for a dark feel but it ended up disjointed.. you may want to take another look at your techniques here. You may also want to ty and smooth out the instrumentation a bit... at least this one is over a minute long

Lol, I agree. And you're welcome. If you have any other questions, I'll do my best to help out, but right now I gotta go to bed; I'm dog tired.

Oh well thanks, and good luck to you as well. I hope my posts in the other composition thread help you out. Oh, and I have a couple of other shows I have written, which I will post on here... probably tomorrow. They are "The 2nd Law of Thermodynamics", "The Show So Intense It Will Abort Your Child", and "The Four Horsemen".

Lol, well, it's 3 in the morning here, so I'm not suprised I'm the only one around. Not like there's a huge amount of people who compose anywas.... but yeah... I sometimes like to have them go up to what is sometimes refered to as the "color" not eof the chord, but I think that sounds fruity, so i jsut say the most important note in the chord. Deciding the most important note depends on A)the type of chord, and what is happening in the music. For example, if you have a chord, say, a sus4 that resolves to a major, you might would want them to go up to the Major 3rd of the chord in a higher octave to emphasize. If however, you went from one major chord to another, you would want to play the root to emphasize the root's position change. Or, if you have say a minor chord that you change into an augmented chord (like, when your building into something intense) you would want them to go up to the augmented 5th in the higher octave in order to emphasize the chord change. Same thing with diminshed chords. Oh, and never underestimate the inverse of this technique; having only the high voice play at first and then impact with the low. Although, I would use said technique sparingly. Anyways.... you may also want to have the first go up, and and use them to create a whole different chord, and then you can even split the voices underneath them to fill up the new chord. Like, you could start with a basic perfect 5 chord (say, C5) and then have the high voices nail an up octave minor 3rd (in this instance, an Eb) and then have the mid and low voices add a minor 3rd as well. This can be used for transitions as well. There are also more unorthodox techniques; for example, in Blood Hail and Fire, I have a transition where the fist go up in a series. It starts out with them on the root on fairly low ocatve. Then, they jump up an octave and a semi tone (up to the minor 2nd an octave up), some hold it and some jump to the root pitch an octave above than, and finally the rest go one helf step up. So, it goes (numbers indicate octave) 5C->6C#->7C->7C#. Well... that's a little out there, and it makes a very very dissonant effect. But yeah... There's some bits of wisdom, I suppose.

I've been working on it for a little over a week now, and I use FL Studio as the sequencer with Edirol Orchestral as the synthesizer. Yeah... I have a bit more, but I am actually currently away from the file right now as it is on anoher computer. But, as to the ending, I plan on having one more half time, but really loud section (Similar in premise to the one near the beginning, but a bit less syncopated) and then having it go back to full time, accelerate, then end with big full chords and whatnot.

Lol, I see, and thanks; oh, and it isn't finished yet. It's got a ways to go really, I'm sort of taking the weekend off from it.

Lol, I've never been to an indoor contest.

Lmao, they do do a bit more than that, but I have to agree, it all happens so slowly that I have a hard time getting excited about it. And I get enough 'march' pieces out of the one parade we do during the summer, at which we play Semper Fi.

I did.... Read my last post for instructions, and here's the link: http://rapidshare.de/files/7887791/Suiteof...clysms.mp3.html

It's common for the first trumpets or horns to go up to the root of the chord, and since generally the first are playing the top note, it is often the fifth. So, they jump from the fifth to the root above that, and so really it's a perfect fourth between the two notes. Hope that answers your question.