Unboxing My LA Phil Parts!

[@saadhaddadmusic]

Join me as I unbox my parts from my recent performances of "Aysheen" with the Los Angeles Philharmonic. In this video, I go over the handwritten pencil markings that the musicians of the LA Phil wrote to help them perform the music. A special thank you to the LA Phil Music Library for their help in the preparation of this music.

[@SuonoReale]

The engraving is beautiful, and the materials look super high-quality. Nice!

[@saadhaddadmusic]

🙏🏽

[@davidyoung6331]

Excellent proofreading and engraving skills. Aspiraring composers can learn from this.

[@saadhaddadmusic]

Thank you, this was a mammoth task but worth it. I just wanted to show what else happens to the parts after the composer sends them off.

[@saadhaddadmusic]

I had a little technical difficult with my lav mic, so I hope the audio is good enough! This was a fun one to make, I hope you find it useful.

[@sandynehc]

You make great videos!! Thank you so much 🙏

[@saadhaddadmusic]

Glad you like them!

[@collinmccookcomposer]

Awesome! I’d love to see more of these part overviews in the future!

[@saadhaddadmusic]

Will do!

[@elkalv]

Very cool, thanks for sharing.

[@saadhaddadmusic]

🙏🏽

[@isaiahtricemusic]

Nice video!

[@saadhaddadmusic]

🙏🏽

[@ABbeachbum]

Saad, is it legal for the librarian to download and email the parts to the instrumentalist who print it themselves, but it not get returned to the librarian? 2) how is music rented vs being owned in that case?

[@saadhaddadmusic]

It depends what you both agree to in the contract. I’ve had it done both ways. With LA Phil, there were no PDF parts exchanged. Just printed parts that were returned like this. I actually personally prefer it I don’t need to print out the parts, it’s a lot less of a headache on my part.

[@Jwellsuhhuh]

I would partly disagree with the find your own fingering thing… and it kinda has to do with you as the composer having agency over YOUR own work. Many of these microtonal fingerings aren’t going to be exactly 50 cents between semitones, and each fingering obviously has its own timbre, range of dynamics, and level of resonance and projection. I personally would mark 1 or 2 “suggested” fingering over each first instance of a new microtone, and then let performers decide whether to follow it or just use their own. Plus it saves them from having to do research before the first read through. Also, lipping the notes vs dedicated microtone fingerings make a huge sonic difference. Unless you want the piece to be interpreted, you should want to specify what you want. Especially since that microchromatic passage was tongued with no rests in between, you will hear the player lip down the note as they tongue, and it will sound a little bit more glissy than with dedicated fingerings.

[@saadhaddadmusic]

5 years ago I would have agreed with everything you just said :)

[@AjStillabower]

assembly required

[@saadhaddadmusic]

🏗️ 🦺 🚧