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These five, short lighthearted pieces are intended for intermediate to advanced students looking to balance out their repertoire for examinations and recitals. They can be played in any order using any number of them. The accompaniment is quite straightforward and could perhaps be played by a fellow piano student. I hope you have as much fun performing them as I did writing them. They are available for purchase on this site at https://mimosamusic.com.au/publishing
This is a mock up of a set of duets for Violin and Trumpet I wrote for some new friends I have met, Anna and Owen. This combination of instruments is an unusual pairing and it will require some careful dynamics adjustments made by the performers: but that's what performers do! This piece is lighthearted and cheeky and gives both players a chance to shine and have some fun. It is also available as a violin and clarinet duet.
This is a mock up the first two movements of a Harp Trio I have written for Emma Sholl and an occasional harp trio she belongs to. It might need some adjusting to suite the harp's capabilities but hopefully not too much. The first two movements are called Water and Earth with Air and Fire to follow at some stage.
This is a mock up of the orchestral score I wrote dedicated to W. E. H. Stanner and is inspired by his essay "Durmugam". I am currently preparing it for performance by the North Sydney Symphony Orchestra late this year (2023). It is in three movements:
I was invited to compose a short piece for a fundraising event in support of the victims of the Ukrainian war. Here is the performance with Frank Celata and members of the SSO performing on 7th May, 2022 at St Stephens Church, Macquarie St, Sydney.
Written for my friend Catherine Fluke, with inspiration from T.S Eliot's Burnt Norton, a reflection on time and order. Written for solo, unaccompanied flute and performed here by Emma Sholl from the Sydney Symphony Orchestra. Thanks Emma! They are available for purchase on this site at https://mimosamusic.com.au/publishing
I enjoyed this orchestration challenge offered by the Online Orchestration portal very much. Orchestration is probably the most challenging skill for a composer but is well worth the effort. A very refined inner ear is required to calculate the aural textural world that will be supporting the composition's narrative. In the case of Film and TV scores ensuring that any potential clashes between dialog and FX are minimised will ease any dubbing mix problems significantly. A thorough understanding of all the instruments of the orchestra is essential not to mention the complex notation applications. Orchestration is the easiest place to embarass yourself as a professional musician if you're not on top of absolutely every single marking on every page.
Thomas Goss says: "James D’Arcy ticks box after box from my list of Evaluation Criteria - and yet comes up with solutions to those concerns so different from my own and so artistically valid in their own way that the results are thoroughly captivating. A brilliant, dazzling score, James!"
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