Author Topic: June, 2019 (alternative topic): What is your favorite chamber ensemble?  (Read 149 times)

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sandalwood

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What kind of chamber music ensemble (from solo up to a nonette) do you feel most comfortable writing for? Why? Is it also the type of ensemble in the standard repertoire you most enjoy listening to?
« Last Edit: June 03, 2019, 12:59:29 PM by sandalwood »

RJB54

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Even though I am a woodwind player I find myself writing for strings (quartet, sextet) a lot. I don't know why but often find that I am hearing a string sound when starting a new piece.

In second place would be woodwind quintet as I like the color possibilities.
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST.
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Michel.R.E

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I'm finding myself writing a lot for strings. I seem to have a knack for using strings in inventive and colourful ways.
of course, playing the viola helps.

I'd LOVE to write a piano trio (pno, vln, vcl) but am far too intimidated by the Ravel trio.

So I'll stick to string quartets!
"Writing music to be revolutionary is like cooking to be famous: Music’s main function is not revolution. – Alan Belkin "

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Jerry Engelbach

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I'm not prolific enough to have evolved a favorite form of any combination.
 
But what I have written seems to favor a string backup ensemble with wind soloist.
 
Except for recorders and a brief flirtation with trumpet, I haven't played a real wind, but I particularly love the sound of oboe and cor anglais.
 
Cheers,
Jer
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tbmartin

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For people who've seen my posts over the years, it's no surprise that sax quartet is my major focus. It's the instrument I play, and I get to play and hear my own pieces performed. I like the relatively consistent sound of the instrument from top to bottom for each individual horn, and across the group's combined range. There are nuances of course, especially in the bari's upper range, but having that consistency has helped me focus on the structure and style of the composition by taking "color differences" out of the variable mix.

I've also written for up to 8 saxes, and that's really not that much different because all it adds is the possibility of "thickness" and not new colors.

From there, however, I'm branching out to full concert band.
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RJB54

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So I'll stick to string quartets!

Of course, there's nothing intimidating about string quartets.  ;D
Information is not knowledge. Knowledge is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. Music is THE BEST.
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Michel.R.E

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So I'll stick to string quartets!

Of course, there's nothing intimidating about string quartets.  ;D

HAHAHA
Yeah, I see your point.

But having grown up as a concert pianist first and foremost, the Ravel trio (which I played when I was 17) holds a particular place in my heart (like the Prokoviev 2nd piano concerto). As such, I find the technical details of that particular work incredibly intimidating. It contains the most difficult music ever written for that particular formation.
"Writing music to be revolutionary is like cooking to be famous: Music’s main function is not revolution. – Alan Belkin "

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gogreen

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For a while now I've been fascinated with brass sounds, so in the last two years, I've written five brass quintets. I'm currently working on a brass choir piece (2 trumpets, 2 horns, 2 trombones, bass trombone, tuba, and percussion). I'm placing bets that my next stop will be brass band. 🤔

Art

tbmartin

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.... I'm placing bets that my next stop will be brass band. 🤔

Art

England is lovely this time of year....
Terence Martin

Tools: Finale 2003 on Windows XP
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http://bit.ly/TerenceMartinSaxArranger
Goal: Improve quantity and quality of concert band compositions.
Play: Saxophones (all, but tenor primary), Bass Clarinet, Piano (poorly)

gogreen

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Quote
England is lovely this time of year.
Hah! It's tempting! Unfortunately, before I'd dive in to brass band writing, I'd have to brush up on brass band scoring techniques.

Art