Born: December 22, 1978 Primary Instrument: Guitar, electric
An experienced musician and instructor very active in the music world; work undertaken includes composition, arranging, orchestration, performing (solo and in bands), clinician/tutor, studio session playing. Have contributed as a columnist to guitar magazines: E-Zines, Guitaren (Denmark) Chops From Hell (USA), NoCabo (Brazil), Guitar Mind and Music Virtuosity (USA).
I am from the South of Brazil but living in Iceland currently and I teach in the Music Schools in the North part of the country.
As far as the Guitar Field Works I do work with Orchestration and Creation of Music for Media, Films and Television.
-writing effective and idiomatic orchestral music -sequencing the music using samples in studio having that music performed by a real orchestra -adding choir to orchestrations -adding ethnic instruments to the orchestrations -combining drum loops and their traditional orchestral elements -adding saxophone to orchestrations -adding guitar to orchestrations -overdubbing instrumental soloists to enhance your MIDI performances
identifying percussion instruments and their sound
-building and capping climaxes with percussion -using pitched percussion to support harmonic material -creating rhythmic patterns and ostinatos with percussion -highlighting accents throughout the orchestra with percussion -doubling percussion and other instruments to achieve desired tone colors -the various sample types for percussion instruments -what is possible (and not possible) on harp and timpani -correct/standard notation for harp
writing for woodwind, including aspects of doubling melodies with multiple woodwinds
-organizing woodwinds by instrument type -transpositions of woodwind instruments -sample types common for woodwind instruments -writing solos for woodwind instruments voicing chords for woodwinds -using woodwind runs to highlight accents -arpeggiating harmonies with woodwinds -using woodwinds for countermelodies -using woodwinds to add “flourish” to your sequence -using woodwinds for harmonic support
- writing for brass, including voicing of chords - notating articulations for brass instruments -using the brass section as a harmonic foundation -creating climaxes with the brass section -combining brass and string elements -reading and writing for transposing instruments -sample types common for brass instruments -combining various brass sample types -presenting melodies in trumpet, horn, and trombone
writing for strings
-thinking in five equal sections”Violin I, Violin II, Viola, Cello, and Bass. -separating melody from background elements using pitch range, -articulation, rhythm, and tone color. -using divisi when a thinner sound is appropriate or acceptable. -using doubling when a thicker, bigger sound is required.
the orchestra as a whole
-The historical use of those instruments -The clefs used by orchestral instruments -Transposing instruments in the orchestra/ transposing and C scores -Score/part layout -Notation software -The overtone series
Professional Membership: www.fih.is (Music Teacher Union of Iceland)
Primary Instrument:
Guitar, electric
Location:
Olafsfjordur, olafsfjordur
Willing to teach:
Intermediate to advanced students
Credentials/Background:
I teach guitar and technology here in the north part of Iceland
For further informations visit www.thiagotrinsi.com
or contact me in thiagotrinsi@hotmail.com
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