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This can give a lot of life to your part and is an important part of the process if you want to play musical phrases that are To make it sing if you will. It take time but it's essential IMO. Of course it's hard to know what you're looking from here that should help. Good luck! Thank you SO much. This is exactly what I was looking for.

I can not do multiple chords. It is like in real life.

But how for instance if I wanted harmonies would I get that with legato without dong a layering of 15 strings to get that harmony? Is there a Video Tutorial for someone like me that has never done orchestration before to now all these things. I would have never ever known that there are these scripts. Where can I learn more about how to load and tweak instruments to get the best when you do digital orchestration. Things like scripts etc. Thank you Geronimo and Gnapier You all have been so helpfull.

Thank you for taking time to just write back. Thank you! Good to now about the panning and that I should not do it to wide. See it stuff like that that I want to know and would have never if you did not tell me. I use other libraries as well apart from just the stuff that came with K3. Messages: 9. Great thread. I have had exactly the same question about legato as Ben2u.

Nice insights here. Any more pearls of wisdom about legato playing? I've not tackled the script language yet. Fjord , Dec 12, The key to getting legato to work is in distinguishing between a starting note and the other notes in a legato. Obviously, the starting note has a distinct attack whereas the other notes will have a continuous transition between them. If a note begins with any time gap from the end of the previous note, it is considered a starting note. This is particularly important with wind instruments, like the Legato Flute.

When using this instrument, I deliberately ensure that gaps occur in the MIDI notes at regular intervals - otherwise it would sound like the player had an infinite supply of breath. It's amazing how those gaps suddenly make the flute part sound real and not synthesized. In the case of the 4-piece Legato French Horn ensemble, I relax this practice a bit because it is unlikely that you'd hear all players taking a breath at once!

As far as harmonies go, the only way of doing this is to have multiple instances of an instrument in your rack and have them each driven from separate MIDI files, each playing a different part of the harmony. In other words, exactly like in real life, you would have separate players or sections doing each part. In the case of strings e. I often do harmonies with violins and violas - I'm trying to stay away from having 42 violins 3 x 14!

Now of course, this is all about using these instruments with MIDI files. Stanza four opens from p to f , stanza five opens further from mf to ff , and the coda closes, residing exclusively at the p dynamic. Notably, the loudest dynamic level of a stanza often coincides with an important word in the poem.

I shall refer to the lowest pitch as the floor , the highest pitch as the ceiling , and the interval between them measured in semitones as the height.

legato interval study Manual

The height increases opens in the second stanza to The pattern of opening-then-closing breaks at this point, because the height decreases once again in the fourth stanza. As the floor and ceiling of the fourth stanza are approached by similar motion, no enclosure takes place. The pattern of opening-then-closing then resumes in the fifth stanza, opening to 16 in the music before the coda, and closing to 7 in the music within the coda.

As with the loudest dynamic level of a stanza, Carter often uses the highest pitch of a stanza to emphasize a motif in the poem. But by being selective and attuned to musical and textual context, I hope to demonstrate that changes of height are not trivial. Example 9 provides a short score of the instrumental introduction, which establishes the techniques of opening and closing heard throughout the song. As it sounds, one pitch enters below it and three above it; all six pitches form an ATH at the dynamic level of p.

The expanding contrary motion from the dyad to the ATH creates an enclosure analogous to those in the vocal part. Here we have a voice leading from a dyad to a hexachord; the prior ones only involved dyads. In addition, the hexachord repeats the dyad. In the process, the height increases more than threefold, from 16 to 55 semitones.

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First, the 55 semitone ATH leads via oblique motion to a 46 semitone one. The concluding five-note sonority an abstract subset of the ATH set class is set off by its unique mf dynamic marking, its low ceiling B3 , and its approach via similar motion, the only such motion in the excerpt. The vocal pitches and vocal rhythms are reproduced in full; the orchestral reduction shows pitches in their relative rhythmic positions within each measure. A series of enclosures via expanding contrary motion concludes the excerpt: the sonority marked X is enclosed by Y, and Y is enclosed by Z.

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Throughout the excerpt, the orchestral dynamic levels alternately open and close p, mf, pp, mp, pp. As indicated by dashed lines on the example, frequent shared pitches form a salient means of interaction between the tenor and the orchestra. As in Example 10, vocal pitches and rhythms appear in full, while the orchestral reduction shows pitches in their relative rhythmic positions within each measure. Save for the oblique motions from 65 to 54, and from 15 to 20, each sonority encloses or is enclosed by the following one. Carter places the enclosure with the greatest change in height 68 to 0 at the junction of the stanzas, coinciding with a tempo change and a drop in dynamics from f to p.

Throughout the excerpt, Carter coordinates changes in the heights of orchestral sonorities, dynamic levels, and vocal register in a striking manner. Example 12 reproduces it along with the four measures that precede it. Here the rhythm in the orchestral reduction appears exactly as notated in the score.

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Dynamic levels, pitch heights, and vocal register then fall abruptly and in tandem. Like the preceding loud orchestral sonorities, the closing quiet ones first open, then close heights 0, 11, 3. However, despite the presence of these familiar elements, the ending comes across as new and fresh to my ear, strongly set apart from the preceding music.


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In this paper, I have focused on a particularly common type of ending for Carter, one that involves a loud climactic attack followed by a quiet passage or section. Stone , , Meyer and Shreffler , , Wilson , Given the absence of staccato markings, the presence of accents, and the loud dynamic levels, it is reasonable to ask if staccato entry 3 is not a staccato entry at all, but instead part of the legato music. I am grateful to an anonymous reader for this insight. Wilson discusses the beginnings and endings of several Carter pieces.

Mead ; and Link study the relation between polyrhythm pulses and the musical surface in several Carter compositions. This is a result of the well-known hexachord theorem, first proven in Lewin The recurring realizations of the ATH as the union of two trichords might suggest that Carter is taking full advantage of the all-trichord property, but in fact only seven of the ten possible trichord unions are present.

The tempo, specifically, is Three features of Example 4 merit discussion. This is similar to what Morris , calls a pseudo all-interval row. In Example 6, parentheses in mm.