In Six movements, written for the Daedalus String Quartet

six cuts (movt 3)

Oración

A few tracks I composed for a group project for school.

Fight

This was performed and recorded at the Wintergreen Summer Music Festival by the very talented Aurelius String Quartet on August 2nd, 2016.

Graffiti for Idealists

2016 All rights reserved©Salvador Rojo Gamón
String quartet, Its material is based in my work A Trip To The Monn.
It's wrote in classical language and its difficulty is intermediate.
https://youtu.be/yTR6IGjsp_4
Cuarteto de cuerda, su material temático viene de la obra A trip to the moon. Está escrito en lenguaje clásico y su dificultad es intermedia.

It's a String quartet, its musical material comes from the score A trip to the moon. The music language is classical and its difficulty is intermediate.

A trip to the moon

CLASSICAL KEY

Support our Patreon ► http://patreon.com/walt
Or donate via Paypal ► http://fororchestra.tumblr.com/donate

If you like the Ducktales theme song then you'll love this! Since I was not able to secure the licensing for that song, I decided to change it and came up with this piece. The good news is that I can sell sheet music, which has always been one of my desires. I want kids to have new music to play.

Download the MP3 ►
http://fororchestra.bandcamp.com/track/as-the-clouds-fly
Download the Sheet Music ► http://fororchestra.bandcamp.com/merch/speed-…re-and-parts

Follow Walt Ribeiro:
Twitter..........► http://twitter.com/fororchestra
Spotify..........► http://fororchestra.spotify.com
Instagram.....► http://instagram.com/fororchestra
Facebook......► http://facebook.com/fororchestra
Website.........► http://fororchestra.com
Subreddit......► http://reddit.com/r/fororchestra

►Spotify:
spoti.fi/WaltRibeiro 
►Sheet Music:
http://WaltRibeiro.com
►Pandora:
http://pandora.com/WaltRibeiro
►iTunes:
http://apple.co/WaltRibeiro

String Quartet:
Violin I....► Carlos Santiago
Violin II....► Alexandr Kislitsyn instagram.com/alexandrkislitsyn
Viola.......► Andriana Markano
Cello.......► Carolina Diazgranados

Please subscribe.......► @fororchestra

Click here to DONATE

As The Clouds Fly - Walt Ribeiro (original string quartet)

String quartet by Ariel Friedman, performed by Cardamom Quartet, 2018. Recorded by Jeremy Sarna at New England Conservatory

Based on a quote by Basho: "The temple bell stops but I still hear the sound coming out of the flowers."

Out Of The Flowers

Short, contemporary pieces for string quartet and bassoon. Each composition is based on (and named after) a scale taken from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns.  This work has become a sourcebook for composers and has influenced many famous musicians such as John Coltrane and Frank Zappa.

A core idea of the Thesaurus is that new scales can be created by dividing the octave into several equal parts. The scales are arranged according to the principle interval, and the intervals are identified by Latin and Greek names. For example, Diatessaron indicates a perfect 4th while Quadtritone indicates a minor 6th. 

These peices can be performed singely, or grouped together in any desired comination as movements in a larger work.

Studies for String Quartet and Bassoon

Quadratonal 1281

Diatessaron 893

Diatessaron 844

Game Design student at Sheridan College
Past: OCAD U
I'll be uploading mixes I compose for game and film projects.

When extremely bored, I write and arrange music for string quartets and orchestras.

I'm growing my own orchestra and failing upwards along the way http://patreon.com/walt

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
------------------------------------------
I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Original Compositions for Acoustic Ensembles (solo, chamber and orchestra) available to listen to here. Enjoy.

Laurie San Martin writes music that creates a compelling narrative by exploring the intersection between texture and line. Critics have described her music as exuberant, colorful, forthright, high octane, tumultuous, intricate, intense and rumbly. She writes concert music for chamber ensembles and orchestra but has also written for theater, dance and video. Her music has been performed across the United States, Europe, and Asia.

Laurie has worked with numerous ensembles including the San Francisco Contemporary Music Players, Berlin PianoPercussion, Left Coast Chamber Ensemble, Radius Ensemble, eighth blackbird, SF Chamber Orchestra, the Lydian Quartet, Magnetic South Ensemble, Washington Square Contemporary Chamber Players, and others.

Recent accolades include an award from the American Academy of Arts and Letters in 2018, and a 2016 Guggenheim Fellowship. Past recognitions include a fellowship from the Fromm Foundation, the American Academy of Arts and Letters, League of Composers-ISCM, the International Alliance for Women in Music, and the ASCAP Morton Gould Young Composer’s Awards. As a composition fellow, she has attended the MacDowell Colony, the Montalvo Artist Residency, Yaddo, Atlantic Center for the Arts, Norfolk Contemporary Chamber Music Festival and the Composers Conference at Wellesley College.

Laurie holds a PhD from Brandeis University in Theory and Composition. She has taught at Clark University and is currently Professor and Chair of Music at the University of California, Davis. Her music can be found on the New Focus Recordings Label of Music from the Association for the Promotion of New Music (APNM), Left Coast Chamber Ensemble’s “San Francisco Premieres” CD, released in 2005 and a recent Ravello CD “Tangos for Piano” performed by Amy Briggs.

Classical composer/alt rock songwriter, arranger, and private guitar and piano teacher living in NYC. Click the tracks for lyrics, descriptions, and performers. More at michaellaster.com.

I am starting in the film work, I have mock-ups where you can see my skills. I hope you like it.

More information
www.salvadorrojo.es

Popular tracks tagged #string quartet,