I explain step-by-step the various techniques I used to compose “Aysheen” for the Los Angeles Philharmonic. The work premieres at Walt Disney Concert Hall in Los Angeles, California on October 20, 21, and 22, 2023.
Hearing the performance notes for this felt like learning the rules of a complicated board game… in a fun way! Also: cool idea to use a steel wool sponge on the tam-tam, i gotta try that out😄
Excellent break down...the entire concept is so fascinating and the level of detail is incredible-8 part canons starting in the double basses and continuing throughout the strings etc,...this must have taken forever to individually import into Logic. But the E-bow idea is a really cool and is a nice subtle touch of orchestration...I also still can't get over the power and inevitability of that final chord!!! You set up such a unique sound world, and the resolution does seem to finally establish this new normal that you discuss in the program notes...and I think it will fit in well with the orchestral tradition you mentioned. One question about the violin bowing/breathing technique: when they bow on the bridge and the wood, you say they still go across the string but with no pitches...are they bowing across all 4 strings or just one, and do they have to mute or dampen the strings with their left hand in order to not allow the open string notes to ring out???
I hope that "new normal" idea works out well in the hall. This was the main idea of the whole tune of course -- great question re: strings bowings -- the "bowing on the bridge" technique is more of a "want" than a need. I've seen it done where players "choose" which strings to play this effect on, as well as the location on the strings; and then they would dampen all the strings with their left hand. As long as they're all doing it the same way and getting the same, pitchless effect -- AND doing it in a coordinated fashion (all upbows), I don't care how they do it. It's just easier to write in the score to "play on the bridge, pitchless, air sound" -- If you start to write out all the text I was just writing above, it's start to get into a muddy text mess on the page that no one will read. Conductor will inevitably explain how to perform the strings' techniques anyway and he's aware of the aural effects desired in the hall. All about communication and trying to say the most in the least amount of words. The length of my particular comment here though goes against what my whole argument :P
Thank you so much for sharing this, can’t stress enough how helpful it is for us starting composers. Can I ask, are you doing the engraving or you outsource it? I find it to take so much time and need specialised experience, so I just hired someone for my latest work. Thank you!
It depends on the project. For this one yes, I did use one since I had very little time to deliver the piece - that being said I can’t stress enough how important it is to know how to make immaculate score and parts yourself. I did it all on my own for over 15 years. Now I’m able to know what I’m looking at when I’m proofreading.
Hey Saad! I'm banging my head against a wall with notation right now Hahaha I am writing a similar piece for wind ensemble where the vibraphones are given a selection of notes, but are instructed to play them in any order and at any time they want. I also use Sibelius and I cannot find a way to notate the black lines you have! HELP!? 😅
Open up the Lines window, create a new horizontal line based on an existing one, there is an option to make it thicker, save it. Then open up lines window again and you should see your new custom line there!
I was told this concert might be broadcasted, but I don't think that ended up happening. I would imagine that if enough people wanted it and importantly, the musicians' union agrees, LA Phil could release it. I'm respecting their wishes (and I'm bound by my contract) to not release it publicly. That being said, I'm very happy you at least heard it live! It never gets old to hear one of your tunes played by a great orchestra. Those that get to do this for a living are very lucky.
@@saadhaddadmusic wow! I’m doing the Charles Ives thing and work a day job so I only compose evenings and weekends. Most medium sized work takes me at least a couple months. I’m working in a 30 minute commission which is taking a lot longer than that however. Thankfully its performance isn’t until May 2025 but I have to have the choral/piano rehearsal score in by late this year.
@@soundtreks yes I have a "day job" too, but it mostly consists of teaching and this youtube thing :) -- awesome that you're working on a big commission!
@@saadhaddadmusic thanks! It’s for a semi pro group but the choir is amateur so it’s limiting how far out I can go. (No Cantata Profana or Lux Aeterna for me LOL). No strings either. 2/2/2/2, 4/2/2/1/1, Timp, 1 Perc. Still fun.
@@saadhaddadmusic yeah I guess aside from film composing, most concert composers have day gigs too. I dig your music and I’m impressed by how prolific you are. Glad I subscribed to your channel. Both you and Samuel Andrejav are excellent spokesmen for contemporary concert music. :)
Be very careful asking musicians to breathe through their instruments, it's fairly dangerous, causing a lot of respiratory problems. It's a very common technique in instrumental beatboxing and the musician can get pretty sick because of it.
I also flinched when he said glide the bow on the wood of the instrument likeee its full of rosin who would do that to his instrument 😭 Please dont do it
I explain step-by-step the various techniques I used to compose “Aysheen” for the Los Angeles Philharmonic. The work premieres at Walt Disney Concert Hall in Los Angeles, California on October 20, 21, and 22, 2023.
Gosh. Thank you for sharing all of this. This is fascinating. I appreciate how thorough this is.
Absolutely. It was fun to summarize what the heck I was thinking 🤣
This is so fantastic. Thank you very much!!
Absolutely 🙏🏽
Full demo recording of “Aysheen” here if you don’t want to hear me ramble over it: ruclips.net/video/hNJJFY2TZIU/видео.htmlsi=qrk8DVlykoFY7Qe4
Thank you for sharing this with us. As with all your videos I learn a lot!!! Congratulations!!!
I’m more than happy to make them 🙏🏽 as long as they’re useful!
Hearing the performance notes for this felt like learning the rules of a complicated board game… in a fun way!
Also: cool idea to use a steel wool sponge on the tam-tam, i gotta try that out😄
I’m glad you enjoyed it :)
You got a cool looking writing desk behind you there!
The camera makes it look larger than it actually is 🤣
Excellent break down...the entire concept is so fascinating and the level of detail is incredible-8 part canons starting in the double basses and continuing throughout the strings etc,...this must have taken forever to individually import into Logic. But the E-bow idea is a really cool and is a nice subtle touch of orchestration...I also still can't get over the power and inevitability of that final chord!!! You set up such a unique sound world, and the resolution does seem to finally establish this new normal that you discuss in the program notes...and I think it will fit in well with the orchestral tradition you mentioned. One question about the violin bowing/breathing technique: when they bow on the bridge and the wood, you say they still go across the string but with no pitches...are they bowing across all 4 strings or just one, and do they have to mute or dampen the strings with their left hand in order to not allow the open string notes to ring out???
I hope that "new normal" idea works out well in the hall. This was the main idea of the whole tune of course -- great question re: strings bowings -- the "bowing on the bridge" technique is more of a "want" than a need. I've seen it done where players "choose" which strings to play this effect on, as well as the location on the strings; and then they would dampen all the strings with their left hand. As long as they're all doing it the same way and getting the same, pitchless effect -- AND doing it in a coordinated fashion (all upbows), I don't care how they do it. It's just easier to write in the score to "play on the bridge, pitchless, air sound" -- If you start to write out all the text I was just writing above, it's start to get into a muddy text mess on the page that no one will read. Conductor will inevitably explain how to perform the strings' techniques anyway and he's aware of the aural effects desired in the hall. All about communication and trying to say the most in the least amount of words. The length of my particular comment here though goes against what my whole argument :P
Thank you so much for sharing this, can’t stress enough how helpful it is for us starting composers. Can I ask, are you doing the engraving or you outsource it? I find it to take so much time and need specialised experience, so I just hired someone for my latest work. Thank you!
It depends on the project. For this one yes, I did use one since I had very little time to deliver the piece - that being said I can’t stress enough how important it is to know how to make immaculate score and parts yourself. I did it all on my own for over 15 years. Now I’m able to know what I’m looking at when I’m proofreading.
@@saadhaddadmusic thank you, that makes absolute sense.
Hey Saad! I'm banging my head against a wall with notation right now Hahaha I am writing a similar piece for wind ensemble where the vibraphones are given a selection of notes, but are instructed to play them in any order and at any time they want. I also use Sibelius and I cannot find a way to notate the black lines you have! HELP!? 😅
Open up the Lines window, create a new horizontal line based on an existing one, there is an option to make it thicker, save it. Then open up lines window again and you should see your new custom line there!
@@saadhaddadmusic Perfection! Much appreciated!
Will an actual recording be released? I heard it live, and although the demo recording is cool, it's not the same🥲
I was told this concert might be broadcasted, but I don't think that ended up happening. I would imagine that if enough people wanted it and importantly, the musicians' union agrees, LA Phil could release it. I'm respecting their wishes (and I'm bound by my contract) to not release it publicly. That being said, I'm very happy you at least heard it live! It never gets old to hear one of your tunes played by a great orchestra. Those that get to do this for a living are very lucky.
Cool piece. How long did it take to compose? Sorry I’m asking before I actually watched the video
You’re on a binge! Thanks for watching the other videos. It took over 200 hours over a 2 month period to write Aysheen.
@@saadhaddadmusic wow! I’m doing the Charles Ives thing and work a day job so I only compose evenings and weekends. Most medium sized work takes me at least a couple months. I’m working in a 30 minute commission which is taking a lot longer than that however. Thankfully its performance isn’t until May 2025 but I have to have the choral/piano rehearsal score in by late this year.
@@soundtreks yes I have a "day job" too, but it mostly consists of teaching and this youtube thing :) -- awesome that you're working on a big commission!
@@saadhaddadmusic thanks! It’s for a semi pro group but the choir is amateur so it’s limiting how far out I can go. (No Cantata Profana or Lux Aeterna for me LOL). No strings either. 2/2/2/2, 4/2/2/1/1,
Timp, 1 Perc. Still fun.
@@saadhaddadmusic yeah I guess aside from film composing, most concert composers have day gigs too. I dig your music and I’m impressed by how prolific you are. Glad I subscribed to your channel. Both you and Samuel Andrejav are excellent spokesmen for contemporary concert music. :)
Oh my goodness
We here.
Hope have sub so i translate to Vietnamese.
It should translate, right?
@@saadhaddadmusicyes, if have translate is good.
Be very careful asking musicians to breathe through their instruments, it's fairly dangerous, causing a lot of respiratory problems. It's a very common technique in instrumental beatboxing and the musician can get pretty sick because of it.
Why is it dangerous? I've done it before in a contemporary orchestra piece without problems
It’s only super dangerous if you don’t clean your instrument regularly because you’re ingesting the gunk you exhale.
I also flinched when he said glide the bow on the wood of the instrument likeee its full of rosin who would do that to his instrument 😭 Please dont do it