Very informative. I'm focusing especially on the French horn writing, which has always given me some trouble. I tend to write them either completely in unison or in block chords. I think more contrapuntal textures have not worked for me because of general lack of skill. Looking and listening closely to the third brass example, I can see it's possible to successfully use other techniques...thank you, good sir.
Interesting. So since bread are by three, you can minimize those to 2 and 1 if you need less volume by 33 or 66% accordingly without staining instrument players.
![เปิดบ้าน นาราเครปกระเทย 1 ไร่ ขายขาดทุนหลัก10ล้าน เอามาใช้หนี้!!! l [Nickynachat]](http://i.ytimg.com/vi/0jz84VFWVP4/mqdefault.jpg)
This is awesome! You're blowing my mind
We come from Greece and we would like to thank you very much for your useful lessons! God bless you.
Great episode! Thanks, Alan
Bonjour. Je découvre votre chaîne avec beaucoup de bonheur. Merci pour toutes ces vidéos !
Awesome..the book of Rimsky korsakov is very similar, but there are not exemplos
Very informative. I'm focusing especially on the French horn writing, which has always given me some trouble. I tend to write them either completely in unison or in block chords. I think more contrapuntal textures have not worked for me because of general lack of skill. Looking and listening closely to the third brass example, I can see it's possible to successfully use other techniques...thank you, good sir.
How is octave-doubling approached when working with extensions eg. 7, 9 or 11 ?
Love it! thanks, Alan
Thanks!
Thanks a lot!
Did anyone mention this is the last line of A Mightly Fortress Is Our God, by Martin Luther?
3:22 Ob. 3 last note shouldn't be C4, doubling Fl. 3?
So good I love it
Brilliant stuff : )
👍
Interesting. So since bread are by three, you can minimize those to 2 and 1 if you need less volume by 33 or 66% accordingly without staining instrument players.