Graham Hamilton’s Post

Choosing a sample library can be incredibly overwhelming when starting to compose. Here are some starting points, as recommended by our in-house composer Homay: 👁️ Albion ONE - An all-in-one library with all sections of the orchestra. You can write entire pieces using just this one library! 🎻 BBC Symphony Orchestra Core and Discover - Based on a more traditional set of orchestral instruments with a wide range of options to create authentic and expressive orchestral compositions, catering to different skill levels and production needs. 🎼 Originals Orchestra - A well-rounded, all-in-one palette. Which sample libraries would you recommend?

I was invited by the Toronto Symphony Orchestra to attend a special rehearsal a couple of weeks ago. It was part of a special program to allow for up and coming Canadian female conductors to get experience with major orchestras so that they can grow their careers internationally. It was a joint project with Tapestry Opera. The TSO’s artistic director Gustavo Gimeno was on hand to listen and provide feedback to the 5 female conductors participating. For me I took away more than just being an opportunity to see an orchestra rehearse. I felt it had lessons to teach about company meetings and line reviews! Some lessons I think relate: Value your participants time in meetings: Gimeno was advising the conductors to edit and select the parts of the piece that most require rehearsing. Recognize that meetings must stay to their appointed length and not run over. Value your team: Repeatedly I heard Gimeno say, “You have a great orchestra here” and pay compliments and recognize that. Be Clear in your Direction: While as conductor you might be able to hear all the players, the players can’t necessarily hear all of them, so be clear in your direction to cue. You are their ears. Not everyone on your team knows the whole picture of a project, so be clear in what each member needs to do. Do not repeat sections that do not need to be re-rehearsed: You will lose your musicians engagement (staff) with repeating information that doesn’t need repetition. Be concise and focus on what is most needed to maintain engagement of your team.

For orchestra directors and concert planners. I've been doing some research. I don't have an enormous amount of data to go on, but, of the concert programmes I've managed to get hold of, which have included "Serenata" (the first movement of my Sinfonietta No.1 ("Silver")), more than 78% have used this piece as their concert opener. Some have included "Serenata" as a stand-alone work, some have paired it with the second movement, most have included the whole Sinfonietta. But so many have made it the first thing their audience hears. That tells me one of two things:- (a) they can't think where else to put it, or (b) it makes a great concert opener I know which I think! I'll put some links in the comments below for those not aware of the work. Check it out if you're looking for the ideal way to start your concert! #orchestra #youngaudience #classicalmusic

4 Hacks that can Improve a Musician's Quality of Life [Bobby Owsinski] https://ow.ly/Gw2150RvQpj #MusicianLife #MusicianTips #MusicianHacks #MusicianWellness

4 Hacks that can Improve a Musician's Quality of Life [Bobby Owsinski] https://ow.ly/pEoP50RvQpk #MusicianLife #MusicianTips #MusicianHacks #MusicianWellness

Unlocking the Full Potential of Your Orchestra: A Guide to Program Growth Discover effective strategies to enhance your orchestra program's growth and musical ability. Learn from experienced educators and explore the benefits of dividing your program into multiple performances. Improve your students' musical skills and give your orchestra the spotlight it deserves. #OrchestraGrowth #MusicEducation #StudentPerformance #ProgramDevelopment #MusicalSkills #EducatorTips #Achievement #EnsembleExperience #MusicCommunity #OrchestraSpotlight

The Search is On #season2425

"In concert halls, a familiar scenario unfolds with remarkable consistency: some of the audience will approach a classical concert with trepidation. They often mention the same things, “I’m not sure if I’m listening correctly,” or, “I read the program notes but I’m not sure if I could detect the intricacies mentioned in the notes.” I hear this a lot from patrons. There is a desire to follow perceived rules, to be correct and proper, and assume that program notes are the key to enlightenment and acceptance. However, people learn and listen differently so there is always a good percentage of people who feel a disconnect to a concert. Program notes, pre-concert talks, and educational videos cater to some, but certainly aren’t for everyone. The fact that so many people seek rules to attend a concert is restricting the very art that should be freeing them. There is no right or wrong way to experience a concert. Despite this, the desire for self-imposed rules persists, creating an environment where newcomers often feel anxious or as though they are missing something essential or going about the whole experience wrong. Ironically, it was during a prison concert this past November that I experienced the freedom that many concertgoers might lack"....READ MORE: #prisonmusic #prisonreform #concerts #programnotes #nowronganswers #yourexperience #concert #presconcertlecture #rules #patrons #prison #listening #agency #ownership #involved #classical #orchestral #orchestra #symphony Arts Capacity Wichita Symphony Orchestra

The next instrument in the symphony orchestra string section is over 6 feet long, the double bass, the biggest member of the string family, with the longest strings, which allow it to play very low notes. The 6 to 8 double basses of the orchestra are almost always playing the harmony. They are so big that you have to stand up or sit on a very tall stool to play them, and it helps if you have long arms and big hands. Like the cello, the body of the double bass stands on the ground, supported by a metal peg, and the neck rests on your left shoulder. You produce sound just like on a cello, using the left hand to change pitch and the right to move the bow or pluck the string. What's the story behind the double bass, and is it a solo instrument? https://lnkd.in/eg3yhCnd

#classic #classicalmusic #beethoven #symphony Movement 1 begins with a slow introduction, which is typical of a first movement of a traditional symphony. In the slow introduction, which feels as dramatic as Haydn's symphony, Beethoven creates rich harmonious tension and presents grand sound as if foreshadowing movement 9 of his symphony. Following the slow introduction to the lively presentation, the first theme containing an elevated atmosphere is played. The theme was initially presented softly and then again played loudly by the entire orchestra, and then suddenly the wrong C note is sharply emphasized, creating a harmonious tension. From the end of the first movement, bold expressions, strong accents emphasizing weakness, and chromatic development make your hands sweat, and Beethoven's skillful composition technique can be seen in the thrilling development method. Haydn, who once taught Beethoven, was also very proud of the bold development of the first movement of the symphony. Largetto in the second movement is very sweet and soft music among the slow movements created by Beethoven. This music creates a more romantic atmosphere, away from Haydn and Mozart. The splendid melody of the string music flowing at a slow tempo seems to foreshadow the magnificent romanticism of the movement of [Bruckner's Symphony] Adagio. However, it is surprising that humorous and fickle music coexist amid the flow of gentleness and lyricism. Scherzo in the third movement is the first scherzo that Beethoven tried in a symphony. Traditional symphonies usually consist of fast minuettes, which were popular in French courts, but Beethoven already added three-beat scherzo-style music in the third movement of the symphony to express more witty and lively feeling. In the second movement, the word "scherzo" was added altogether. Originally, the word "scherzo" means "joke," and its musical character is light and witty like a joke, so when conducting a music, it moves fast enough that conductors conduct a word with one beat even though it is composed of three beats. In the "Trio" part, which contrasts with fast scherzo, oboe's tone and soft melody line stand out, but the string instrument suddenly emphasizes the F# note and shocks the audience. This is interesting because it gives the impression that someone is obsessively obsessed with the same word and speaks louder and louder while talking. This is a part that reveals Beethoven's special talent, who knew how to make jokes with music.