jjayberthume.m... To get in touch with me for Zoom composition or piano lessons, commissions, collaborations, or just a friendly chat, you can use the email jjayberthume@gmail.com
An awesome piece here! You continue to inspire me to extend the boundaries of what I can do as a classical composer. I look forward for more compositions of yours!
Oh I looked through the comments and I see you're a young guy who made this?? WELL GOOD JOB, I didn't even hand in my Y10 composition, instead I'm just looking for fanfare I can play for important events ππππ ANYWAY COMPLIMENTS, This makes me want to play French horn, I love stuff like this makes me think LOZ and such so GOOD JOB HEAR YOU IN FUTURE STUFF MAYHAPS??
I assume the change in eighth note groupings at I is just a "typo"? We bought this and are playing it in March. It is not easy to put together! But it's an interesting challenge!
Susan Salminen It’s a tough piece! It was originally written for our scholarship quartet and they told me to write something difficult. Send me a recording if you get one, I’d be thrilled to hear it! The beamings were fixed in a later edition, I just keep forgetting to reupload the sheet music.
Charles Gaskell Do you mean the mockup sounds fake (which of course it does compared to live players) or that you feel the tempo should be slower? Although it sounds good a bit slower, I still stand by my optimum marking, and if I ever had the fortune of getting it performed with virtuosic players I'd shoot for 140.
I wonder if it needs to be a bit slower (with a little more give and take of tempo). Notoriously, Beethoven was very taken with Maezel's metronome, and then gave what were apparently ridiculously fast speeds for things that he wrote - you get pumped up by the excitement of the piece, which makes you think it wants to go faster than what is actually good for it. I've been listening to a few versions of the final bit of Britten's Young Person's Guide to the Orchestra, including one by Bernstein where he is about 10-15 bpm faster than most other people (c.165 bpm) which really is too fast It's a fanfare, not a gallop ;-) (personal opinions only of course)
I like the rhythmic permutations on the 4 eighth-note groupings, my favorite being the accompaniment in measures 53-54. I would be tempted to alternate between the downbeat vs. upbeat flavor for a bit longer.
This piece flows so naturally and brilliantly! What pieces of film and video games have you worked on? I'd play/watch it if it was something that you worked on
On the intro... Which style of harmony are your using. It's Really hard label many of these sounds as chords... Although I guess you can but... I would love to know just a tiny bit of what was your thought process behind some of the sounds
Hi JJay, love your videos! I saw you using Noteperformer so I am now trying the trial, but the timing of the notes is really bad. I tried to increase the buffer window but that only made it worse. Any tips?
Jeroen op de beek Are you using rewire? If not, I'm not sure what the issue is - have you consulted the troubleshooting part of the manual or contacted the developer? He's usually pretty good at getting back to people. I haven't run into that problem so I can't help you, sorry! :(
JJay Berthume I have tried on a different (more powerful) computer and it works fine. I think it has something to do with my audio card and/or an old computer. Thanks for the quick reply!
Nice use of ∆#4 chords ;) I like the way the Bb∆#4 intensifies the E which was the 7th in the F chord. I tend to think of the ∆ and the #4 (#11) as cousins, given that the #4 is just one step up the cycle of 5ths from the ∆. They share a bright taste, yet the #4 is just slightly more piquant!
Very interesting question! Basically I had three ideas I conceived before starting to write the piece: 1. The rhythm at the very beginning. Fanfares need to sound active, virtuosic and regal IMO, but horns are the least agile of all the brass in terms of jumping around notes quickly, so I strove to come up with a rhythm that sounds interesting and energetic while staying on the same note to avoid unidiomaticism with leaps that would work for trumpets. 2. The motive at A, which I tried to make both recognizable and simple enough to work with many different harmonic and textural contexts for development. 3. The theme at C (which is rhythmically foreshadowed at B), I tried to make sound more like a full tune with a question and answer, and contrasts the first motive by being ascending in contour and not starting on the downbeat. Once I had these three ideas, the piece spun out fairly intuitively; I just tried to tell an interesting story by juxtaposing and developing those themes in various ways, and finally all three are broken up to contribute to the coda. The only material which may not seem to relate to these themes is the refrain that first appears at D, but at closer inspection it’s really just an alternate question to the answer of the rhythmic figuration, placing the ba-da-da ba-da-da motive in a more melodic context.
I love your style of harmony. There's so many nuances and moods withing the phrases themselves. I think many would enjoy playing this as well. Do your recommend any reading material in general for composition and harmony in these smaller ensembles, or would my time be better spent score studying?
Bagwa This soundset was NotePerformer, so it never left Sibelius. For pieces that I sample with Logic, I perform the parts into the DAW and mix it. But I always start with Sibelius with the exception of ambient music where the textures have to come first.
Why is bar 65 a 2/4 bar rather than a 7/8 bar? Personal opinion, I think it would work even better as a 4/4 bar! And I think I'd be tempted to take the 4th horn lower. But this is nit-picking - great stuff JJay :-)
@@JJBerthume I’ve just started using it and I switched to dorico and I’m loving it. I just starting seeing your stuff on my recommended and I really love it! As a young composer myself I am really inspired so thank you for doing what you do
No offense intended, just a horn’s perspective. An easy way to tell it’s written by someone who doesn’t know the horn. There’s not use of the range of the horn.
It's already been performed and there was no problem! :) You might have thought the score was in C - it's transposed so everything sounds down a fifth.
![[Score] Eugène Bozza - Suite for 4 Horns in F](http://i.ytimg.com/vi/ghbhKhmxQ7c/mqdefault.jpg)
I love the driving rhythm in this piece really keeps the piece moving and interesting
Please make a video about the process of writing this!
An awesome piece here! You continue to inspire me to extend the boundaries of what I can do as a classical composer. I look forward for more compositions of yours!
Oh I looked through the comments and I see you're a young guy who made this?? WELL GOOD JOB, I didn't even hand in my Y10 composition, instead I'm just looking for fanfare I can play for important events ππππ ANYWAY COMPLIMENTS, This makes me want to play French horn, I love stuff like this makes me think LOZ and such so GOOD JOB HEAR YOU IN FUTURE STUFF MAYHAPS??
This is marvelous, Jjay!
We are playing this in our 7th grade band
the main theme is very cool! love it!
Very unique and fun. I like the moving part 3 from the end.
JJay can't help but entertain us all with every post ! great work , man !!
Good music great work
An absolute bop! Thanks, Mr. Hollander.
FYI, those fortissimo-subito piano-crescendo-fortes at 1:52 sound a lot better with real players haha.
I was literally going to ask if there was going to be a live recording :P
Visions of glitterglaze glacier...
JJay Berthume sooooo is there a live recording?
Very well written for horns, probably by a composer who plays horn!
I really love the part at 1:37, you have such a way with chords it's amazing.
I assume the change in eighth note groupings at I is just a "typo"? We bought this and are playing it in March. It is not easy to put together! But it's an interesting challenge!
Susan Salminen It’s a tough piece! It was originally written for our scholarship quartet and they told me to write something difficult. Send me a recording if you get one, I’d be thrilled to hear it! The beamings were fixed in a later edition, I just keep forgetting to reupload the sheet music.
So cool. Everything.
This is a wonderful piece! I especially love the part starting at 0:24. Did you ever get this performed?
Looks great! A nice tonguing exercise for the players too. :)
Haha yeah in actual performance we had to slow it down a few BPM! :P
what would the mock-up sound like slowed down a few bpm? Feels a bit too metronomic
Charles Gaskell Do you mean the mockup sounds fake (which of course it does compared to live players) or that you feel the tempo should be slower? Although it sounds good a bit slower, I still stand by my optimum marking, and if I ever had the fortune of getting it performed with virtuosic players I'd shoot for 140.
I wonder if it needs to be a bit slower (with a little more give and take of tempo). Notoriously, Beethoven was very taken with Maezel's metronome, and then gave what were apparently ridiculously fast speeds for things that he wrote - you get pumped up by the excitement of the piece, which makes you think it wants to go faster than what is actually good for it.
I've been listening to a few versions of the final bit of Britten's Young Person's Guide to the Orchestra, including one by Bernstein where he is about 10-15 bpm faster than most other people (c.165 bpm) which really is too fast
It's a fanfare, not a gallop ;-)
(personal opinions only of course)
Great piece!
Fantastic Piece - I love it!
Excellent
Very nice!
Fantastic piece! I think it would work fine with four trumpets too. I'll buy it.
Wonderful!
I like the rhythmic permutations on the 4 eighth-note groupings, my favorite being the accompaniment in measures 53-54. I would be tempted to alternate between the downbeat vs. upbeat flavor for a bit longer.
This piece flows so naturally and brilliantly! What pieces of film and video games have you worked on? I'd play/watch it if it was something that you worked on
The Avarice Of Esperance Thanks! I'm still in college and so haven't dived into the industry yet!
On the intro... Which style of harmony are your using. It's Really hard label many of these sounds as chords... Although I guess you can but... I would love to know just a tiny bit of what was your thought process behind some of the sounds
cool as usual
score: ff
midi: mp, take it or leave it
Hi JJay, love your videos! I saw you using Noteperformer so I am now trying the trial, but the timing of the notes is really bad. I tried to increase the buffer window but that only made it worse. Any tips?
Jeroen op de beek Are you using rewire? If not, I'm not sure what the issue is - have you consulted the troubleshooting part of the manual or contacted the developer? He's usually pretty good at getting back to people. I haven't run into that problem so I can't help you, sorry! :(
JJay Berthume I have tried on a different (more powerful) computer and it works fine. I think it has something to do with my audio card and/or an old computer. Thanks for the quick reply!
Nice use of ∆#4 chords ;) I like the way the Bb∆#4 intensifies the E which was the 7th in the F chord. I tend to think of the ∆ and the #4 (#11) as cousins, given that the #4 is just one step up the cycle of 5ths from the ∆. They share a bright taste, yet the #4 is just slightly more piquant!
lesmizzle Yeah, it's a matter of whether or not you want the b9 or major 7 interval sound!
Peep those stemlets!
If I had a better mic I'd try to multitrack this on mellophone. I like this piece a lot
Email me, I'd literally be willing to buy you a mic in return for a multitrack recording if you're interested 😁
@@JJBerthume Email sent!
What helped you the most in learning to develop your idea?
Very interesting question!
Basically I had three ideas I conceived before starting to write the piece:
1. The rhythm at the very beginning. Fanfares need to sound active, virtuosic and regal IMO, but horns are the least agile of all the brass in terms of jumping around notes quickly, so I strove to come up with a rhythm that sounds interesting and energetic while staying on the same note to avoid unidiomaticism with leaps that would work for trumpets.
2. The motive at A, which I tried to make both recognizable and simple enough to work with many different harmonic and textural contexts for development.
3. The theme at C (which is rhythmically foreshadowed at B), I tried to make sound more like a full tune with a question and answer, and contrasts the first motive by being ascending in contour and not starting on the downbeat.
Once I had these three ideas, the piece spun out fairly intuitively; I just tried to tell an interesting story by juxtaposing and developing those themes in various ways, and finally all three are broken up to contribute to the coda. The only material which may not seem to relate to these themes is the refrain that first appears at D, but at closer inspection it’s really just an alternate question to the answer of the rhythmic figuration, placing the ba-da-da ba-da-da motive in a more melodic context.
Very, very good, JJ. However, I would prefer it as a trumpet fanfare, as the lovely dissonances would have more bite.
not bad for MIDI
I like the piece, Jay - great work. Which sound package were you using within Sibelius? Is that NotePerformer?
NotePerformer...
Thank you! Yep, when in doubt assume NotePerformer! :D
Would I be able to use this for WDMA? For my routine?
I love your style of harmony. There's so many nuances and moods withing the phrases themselves. I think many would enjoy playing this as well. Do your recommend any reading material in general for composition and harmony in these smaller ensembles, or would my time be better spent score studying?
Joshua Mallard Thank you! Score study!
Haha, time for me to squint at that Sea Symphony score!
Have you listened to any Kerry Turner horn quartets btw? I highly recommend them if you are not familiar.
lesmizzle I'll check them out; thanks!
I'd love to buy an arrangement for trombone quartet!
I’d be happy to accept a commission arrangement if you’re particularly interested - send me an email if you are, thanks!
Nice! Which sampleset do you use?
Leander Schoormans Thanks! Noteperformer.
JJay do you write out your pieces in Sibelius and transfer the MIDI to your DAW in most of your compositions? Or do you work straight on the DAW?
Bagwa This soundset was NotePerformer, so it never left Sibelius. For pieces that I sample with Logic, I perform the parts into the DAW and mix it. But I always start with Sibelius with the exception of ambient music where the textures have to come first.
STEMLETS!!!!
Nice work. I would like to hear it with real horns just to compare. But a really great mockup nonetheless.
Why is bar 65 a 2/4 bar rather than a 7/8 bar? Personal opinion, I think it would work even better as a 4/4 bar! And I think I'd be tempted to take the 4th horn lower. But this is nit-picking - great stuff JJay :-)
Is this noteperformer you are using?
Yes - LOVE NotePerformer!
@@JJBerthume I’ve just started using it and I switched to dorico and I’m loving it. I just starting seeing your stuff on my recommended and I really love it! As a young composer myself I am really inspired so thank you for doing what you do
No offense intended, just a horn’s perspective. An easy way to tell it’s written by someone who doesn’t know the horn. There’s not use of the range of the horn.
It's already been performed and there was no problem! :) You might have thought the score was in C - it's transposed so everything sounds down a fifth.
with real instruments would be better.. much much
No shit! 😂