After rehearsal and recording session of Colours (in circles)

Last Friday, 12th of January 2018, I had a rehearsal with the Guildhall’s and Royal Academi’s students. They agreed to rehears my work and record it for my upgrade portfolio.

After these two sessions - rehearsal and recording - I have a couple of observations to note.

Main issues:

  • All the musicians were booked in Asimut in late November 2017. However, one of them (the most important, I must say) had an extra rehearsal, booked on that day. This student came to Colour’s rehearsal at 9:00pm (and the rehearsal finished at 10:00pm);
  • The room chosen wasn’t the best room for the recording, in terms of the quality of sound. However, it was the only room available and the only room that it was possible to have the marimba that hour.
  • The main issue was - after all - time. The musicians didn’t have enough time for practicing and rehearsing together. Knowing the piece it’s very important and this didn’t happen because it wasn’t enough time for rehearsing.
  • In the recording session, it was made one hour of rehearsal with everyone and then one hour and thirty minutes rushed recording session. The main problem was, the tempo. The recording was made in sections and everytime that we finished a section the tempo was faster. But, because there isn’t enough time to record we accepted all consequences.  Still, because the performers were not to confident with the part together, the sound it’s to metallic, when should be more soft.

During the rehearsal, in conversation with the participants, I spoted some issues, that in a way, for me, wasn’t an issue but for all the musicians it was. The way that I organised the semiquavers it’s confusing. Instead of groups of 4, 3 & 2 or 4, 2 & 3 they preferred groups of 4 & 4. I changed the parts fore the second half of the rehearsal and recording session.

The final result it’s obviously a workshop-rehearsal-recording session. It’s not perfect but it gave me the opportunity to engage with not only all the logistic that it’s necessary to have the musicians, room, instruments and recording teem; but also with all the people that interviewed in these six hours session. I met new students from Guildhall and solidified old relations with friends and musicians from Royal Academy and from Guildhall as well. In terms of the recording it’s to slow with regular alterations on the tempo, wrong notes and metallic sound. At the end, I felt that we needed a couple of days more for rehears and other couple of days to record. Next stage of Colurs (in circles) it’s a possible live performance in the New Music Society summer term program.

Daniel Davis

Daniel Davis, Rua Carlos Pereira, Lisboa, Lisboa, 1500-139, Portugal

Começou a interessar-se pela Composição ao mesmo tempo que estudava Saxofone no conservatório, tendo como tutor Professor Francisco Loreto e professor Robert Andrés. No ano de 2011 ingressa na Escola Superior de Música de Lisboa no curso de Composição sob a orientação dos Professores Sérgio Azevedo e António Pinho Vargas. Teve aulas de Orquestração, Técincas de Composição, Análise, Sociologia e Estética Musical e História da Musica dos Séc. XX e XXI com os Professores Roberto Alejandro Peréz, Carlos Marecos, Carlos Caires, João Madureira e António Pinho Vargas. Em 2013 ganhou a Menção Honrosa do Prémio de Composição da Antena 2 / SPA e no mesmo ano ganhou, também, a Menção Honrosa do II Prémio de Composição da Banda Sinfónica Portuguesa realizado na Sala Suggia na Casa da Música do Porto. Em 2014 termina a licenciatura na Escola Superior de Música de Lisboa com a nota de 19 valores, sendo atribuída em unanimidade pelo Júri do exame. Em setembro do mesmo ano (2014) ganha por unanimidade o 1º lugar no Prémio de Composição SPA / Antena 2 com a peça “…from the last breath”, tornando-se bolseiro da Fundação Gulbenkian. Como profissional na área da Composição, produz um Teatro Musical no Castelo de São Jorge, encomenda da EGEAC e Castelo de São Jorge para a temporada 2015, participou como compositor no Prémio Jovens Músicos com a peça obrigatória para Saxofone, participa no aniversário como Compositor do Grupo Coral Regina Coeli, participa no projecto “10 Compositores, 3 Gerações 2 Quartetos” produzido pelo Paris Guitar Quartet e Quarteto de Vozes de Lisboa e foi o Jovem Compositor Residente da temporada 2014-2015 da Orquestra de Câmara de Cascais e Oeiras (OCCO), reconhecido num concurso realizado por membros da OCCO no passado dia 15 de Novembro de 2014. Em 2015 foi nomeado para o Prémio SPA Autores na categoria Música - Melhor trabalho de música erudita com a peça “Courage…to follow the way”. Actualmente frequenta o segundo ano do Mestrado na área de Composição na Escola Superior de Música de Lisboa, sob orientação do professor Luís Tinoco. Academicamente, tem colaborado em várias Teses/Dissertações de Mestrado, como editor de partituras e análise de partituras.