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  • LSO Soundhub G+ Live » aaronhollowaynahum.com
    number of issues concerning the business of composing No Comments Blog News Show Your Work Writing Leave a Reply Click here to cancel reply Name required Mail will not be published required Website Leave a Reply Cancel reply Your email address will not be published Required fields are marked Comment Name Email Website Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time

    Original URL path: http://www.aaronhollowaynahum.com/lso-soundhub-g-live/ (2016-02-08)
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  • 5 Technical Books Every Composer Should Own » aaronhollowaynahum.com
    Del Mar I d recommend a composer begin with Blatter s Instrumentation and Orchestration All orchestration books will give you a largely similar short background on the instrument discussion of its physical characteristics and some generally minor discussion of possible effects and extended techniques Blatter s book is thorough and in my experience the most accurate of the texts I also appreciate and have greatly benefited from Blatter s chapters on transcription and scoring for some of the more common ensembles 3 How to Write for Percussion Samuel Solomon Of all the instruments to write for in the orchestra none is harder to master than percussion Percussionists play about a hundred standard instruments followed by about a million other instruments from around the world This is only slight hyperbole Each of these instruments has their own idiosyncrasies including notation tuning if they are pitched range and mallets It is easy for a composer to fall in love with a sound say a gong dipped into water without ever thinking about just how big a bucket you need to successfully dip that gong into just how heavy that bucket becomes when filled with enough water to create the effect and just how hard it will be to carry that bucket from the nearest bathroom up three flights of stairs to the concert stage True story Percussionists must find borrow purchase the instruments you want incorporate them into what is likely a totally new set up and then learn to play them to a reasonably high standard They do this while standing further from the music than any other musician often moving from one stand to another mid performance Don t forget to count Even all of this just scratches the surface of the complexity that comes in writing for percussion instruments and so it is well worth every composer s time to sit down with Solomon s book and think deeply about the concrete physical challenges that face every percussionist and the clearest and most practical way to achieve what they want in their music 4 The Technique of my Musical Language Olivier Messiaen trans John Satterfield Messiaen is obviously widely regarded as one of the most important composers of the 20th Century and he was also an incredibly important and influential teacher his students included Boulez Xenakis Stockhausen George Benjamin etc This book includes chapters detailing Messiaen s rhythmic melodic harmonic and formal techniques along with a short discussion of bird song It s an incredibly important book for composers and especially for young composers not just because it gives you a quick way to learn from Messiaen s techniques but because it gives an overview of a composer who was so thoroughly rigorous in every area of his thinking In the end each composer may take or leave these ideas but interacting with them is a clear and useful way to develop as a musician Messiaen discusses melodic development 5 Elliott Carter s Harmony Book Edited by Nicholas Hopkins

    Original URL path: http://www.aaronhollowaynahum.com/5-technical-books-a-composer-should-own/ (2016-02-08)
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  • 5 tips to make your music more compelling » aaronhollowaynahum.com
    is So think of this piece of advice as a goal for your journey and once if you get there keep hold of it 2 Pay attention to what you what the listener to hear Especially with larger ensembles it is very easy to become so heavily invested in each layer of the composition that it becomes almost impossible for the listener to tell what material is meant to be in the foreground and what is meant to be in the background In my own work I have found the metaphor of photographic aperture to be a really helpful one as professional photographers are always in control of how much of the picture you are supposed to be focusing on This can be applied in many ways It can simply emphasise the thing you are supposed to be looking at but it can equally draw your attention to an unusual relationship The principle is what is important To draw your attention to something in the picture it is necessary that other things be obscured or left out The same is true of music If every layer of your composition is in exquisite focus and calling for our attention we will most likely miss the point altogether So ask yourself every day as you begin what is it that I actually want the listener to hear 3 It is large scale form that is ultimately compelling not individual moments Great pieces of course have both But I would argue that there are many piece with fantastic moments that do not hold together or remain compelling over their entire duration while truly great works are those that give us exciting moments within a truly compelling large scale form This harkens back to the first point in that it takes a much longer time and a great deal of score study to learn how form imparts meaning as opposed to creating an exciting moment and it then takes a lot of technique to write music that does this effectively 4 Think about saturation My guess is that you re expecting this point to be along the lines of not having everyone play all the time Visually though saturation provides us with a much more fruitful and precise analogy than this Saturation has to do with intensity and or purity of a colour As you move toward a single wavelength of light the colour becomes more intense more highly saturated This idea of purity and intensity is an extremely helpful one when composing We can apply it to virtually every parameter of music Take register as just one example It isn t of course that you always want everything confined within a single register at all times just as you would only want to create a photograph that was a single colour for specific artistic reasons but clarity and distinctiveness of register are hugely important tools to the composer I see a huge number of scores which from beginning to end exist in only

    Original URL path: http://www.aaronhollowaynahum.com/makeyourmusicmorecompelling/ (2016-02-08)
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  • The Passionate Photographer, applied » aaronhollowaynahum.com
    would need to stretch terribly to try and parallel them with compositional techniques lighting as equivalent to timbre or some such nonsense What I really think I gained from these chapters as a composer though is a respect and deeper understanding of just how important technique is in making the transition from good to great Taking great photographs isn t about great technique but it does require great technique I am a very mediocre portrait photographer In reading chapter 5 I began to see that at least a part of my problem was that I simply did not understand the techniques behind capturing images that I loved had tried to emulate Here for example is a picture of an old flatmate that I purposely took in the style of Richard Avedon you can see the original here The problem is obvious I looked at Avedon s picture and tried to recreate it without really understanding how he had made it The point for a composer is that you learn technique by actively studying those who have gone before When you find the music that really speaks to you don t merely listen to it Get a score and figure out what it is that is going on and how the composer wrote the piece If you do not yet know how to do this get a subscription to Tempo and or Contemporary Music Review and read the analysis articles so you can see how other composers do it Step 7 The Art of the Edit Choose Well and Be the Best You Can Be Editing in composition is a difficult subject There is the infamous story of Stravinsky standing over a piano crossing out notes and muttering to himself no mercy no mercy The editing process in composition is a long and varied one but generally happens in one of two ways You write the music very quickly and then go back and edit carefully You edit carefully along the way generally writing significantly more slowly I have found it very difficult to go back into a written piece and make significant changes as the changes I make then have repercussions that make a later sections of the piece nonsensical or at the very least leave them requiring significant editing themselves Steve Simon used with Permission A general principle of photography editing according to Simon is that editing gets harder as you get better because you are choosing between higher quality pictures Of course you are probably also not taking so many bad pictures and you are probably more skilled at quickly making the changes adjustments that need to be made As I have grown as a composer I am more quickly aware of when the music I am writing isn t working achieving expressing what I want it to I still often have false starts on sections and even entire pieces but I generally catch and abandon them more quickly and with more confidence There is another question in

    Original URL path: http://www.aaronhollowaynahum.com/the-passionate-photographer-2/ (2016-02-08)
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  • Adrian Smith » aaronhollowaynahum.com
    their music more compelling I was thankful for the thoughtful replies that came through Adrian Thomas highlighted the difference between photography and music which he suggested might No Comments Blog Writing Tagged Adrian Smith Advice Aperture Christian Carey Compelling Composers composition Michael Betteridge Photography Saturation Toby Young Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But Real Time Premiere LSO Soundhub Atea Quintet Brighton

    Original URL path: http://www.aaronhollowaynahum.com/tag/adrian-smith/ (2016-02-08)
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  • Christian Carey » aaronhollowaynahum.com
    No Comments Blog Writing Tagged Adrian Smith Advice Aperture Christian Carey Compelling Composers composition Michael Betteridge Photography Saturation Toby Young Morning Masterclass Goethe Institut Had a great masterclass this morning with Hanspeter Kyburz Christian Carey and the ECCE Ensemble at the Goethe Instut Boston They workshopped my piece The Faultlines of Prayer and we had a fruitful discussion about the creation of materials and in particular the local and global relationships of those materials to larger forms The recording from the workshop should No Comments Blog News Uncategorized Writing Tagged Aaron Holloway Nahum Boston Chamber Music Christian Carey ECCE Ensemble Goethe Instut Hanspeter Kyburz The Faultlines of Prayer Workshop ECCE Live Workshop Boston September 21 2012 9 00 am to 12 00 pm September 22 2012 I m really excited to be heading to Boston next week for the East Coast Contemporary Ensemble s live workshop with Hanspeter Kyburz at the Goethe Institut Among a two day festival including a lecture presentation and portrait concert of Mr Kyburz I will be one of six composers with a piece workshopped and recorded with the ECCE No Comments Blog Events News Performances Tagged Christian Carey ECCE Ensemble Ensemble Konvergence Goethe Institut Hanspeter

    Original URL path: http://www.aaronhollowaynahum.com/tag/christian-carey/ (2016-02-08)
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  • Photography » aaronhollowaynahum.com
    2012 10 00 am to 5 00 pm I ve spent the previous day at a recording session of the Navarra Quartet at Champs Hill I was there to do video photography work on their session in which they recorded Beethoven s String Quartet Op 18 No 1 It is a particularly spectacular studio and this is one of the most exciting young quartets out there No Comments Blog Events Tagged Beethoven Champs Hill Recordings Navarra Quartet Op 18 No 1 Photography Recording Session The Passionate Photographer applied Steve Simon used with Permission One of the best teachers I ever had told me that she had learned more about composing music from painters and other artists than she ever had from other composers That sat with me without really hitting home for a long time About 3 months ago though I had the 1 Comment Blog Writing Tagged composition Photography Richard Avedon Steve Simon The Passionate Photographer Hawaii Photo Contest Amusingly I ve only just found out that this photo I took in Turtle Bay along the north coast of Oahu was a finalist for the 2009 Hawaii Magazine s 2009 Photo Contest We re headed back to Kauai for

    Original URL path: http://www.aaronhollowaynahum.com/tag/photography/ (2016-02-08)
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  • Alexandra Gardner » aaronhollowaynahum.com
    and Music Embedded Scheme on 18th March I learned a huge amount in the 90 minutes I spent with the orchestra and wanted 4 Comments Blog Events Writing Tagged Alexandra Gardner BBC Symphony Orchestra Ben Oliver composition Dynamics Embedded Learning Listening Microtones Music New Music Box Orchestral Music Recordings Rehearsals Sound and Music Tom Coult Latest News Remember Me Part IV Performances Remember Me Part IV Premiere AIDF Anything But

    Original URL path: http://www.aaronhollowaynahum.com/tag/alexandra-gardner/ (2016-02-08)
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