File: 1429207675838.gif (2 MB, 225x225) Image search: [Google]

2 MB, 225x225

>mfw last thread >>65835216 dies at 4 posts
lmao pathetic, just quit this shit now

Just make one thread a week senpai

>>65838755
lmfao i didn't even see it

also shut up retard

>>65838755
I'm glad we have such dedicated bumpers, baiting to generate activity.

>bumps
>>65840111
>>65840996
>>65841593
>shitposts
>>65838755
>>65839533
>genuine discussion
>>65839525

just lmao @ this horrible, horrible thread

>>65841696
Who are you quoting?

>>65842245
just categorizing, you dimshit

sage

>>65842287
Obviously
but who are you quoting?

>>65842312
show me where i am quoting

sage

http://alanbelkinmusic.com/site/en/index.php/on-the-art-of-composition/

Here's a resource I didn't find in the OP. It's a pretty complete, practical, not theoretical guide to composition. It's divided into Form, Orchestration, Counterpoint and Harmony. Really handy as a reference, and gives you a lot of macro concepts to think about in the form section. Form is very rarely written about on the internet, so this is something you all should read.

>>65842401
>Form is very rarely written about on the internet
I am intimately familiar

Good find.

https://www.youtube.com/watch?v=xNwk9_bbr0E
This guy does nice videos on sonata form.

how do i transcribe shizz

>>65842580
You hear it and you write it down?

Generally you write the highest voice first, then the bass, then anything in the middle you're able to distinguish.

Anyone have any tips on how to get out of a compositional rut?

I find myself just going back to my favorite compositional tropes and chord progressions. Even the concept of "same harmony, different melody" I get too bored. Does it come down to me analyzing/transcribing new/different music and trying to experiment with it?

>>65842686
Yeah. Literally steal a different progression and see what happens.

Try writing big random clusters and deleting notes from them one by one and see what you end up with.

>>65842671
but how do i figure out how to play it? I'm transcribing a short guitar solo, but I can't figure out where to play the notes

>>65842525
wait - the video described the exposition, then the exposition waas repeated, then the development - then it was over. Did Beethoven forego the recapitulation?

>>65842686
That's essentially it. Listen to music you're not used to and look at what they do. Alternatively, look at music you like and seriously overanalyze it beyond sensible levels.

>>65837882
is composing with software frowned upon?

>>65842760
>>65842813
alright, I guess i'm gonna go put some JS bach preludes into roman numerals then

>>65842804
You must have missed it? It's at 3:27. Developments and recapitulations can sometimes be hard to tell from each other. Here it's as clear as day, though.

>>65842765
That's really a question of how well you know your instrument. Transcribing something for guitar and for flute (for example) are two very different things.

>>65842765
Start with the first note in the guitar solo, find it on your guitar, then go note by note and trial and error it out. use your relative pitch (ability to tell intervals)

>>65842910
oh, okay, I did miss it (I must've skipped ahead in the video accidentally)

>>65842857
It's some composers' field of expertise.
https://en.wikipedia.org/wiki/Computer_music

Even just notating your music using, say, Sibelius or Finale, it's really the normal way to compose now (although I still find it weird to do myself and stick to my notebook until the piece is finished).

>>65843022
thanks, I was just fishing for composing software.

https://clyp.it/5q24eutf

This is a 24 minute piece in a minimalist style using digital sound sources.
Would appreciate your ears and thoughts.

>>65843022
I scribble ideas around in my noteboook, but put everything together with softawre

bump

if you see this please consider posting in this thread we are desperate to keep it living

>>65843046
>24 minutes
I ain't got the time, dude

It's very tranquil though. The progression of it seems nice and steady. Just from the waveforms you can clarly see how the piece will progress. From 8 - 11 really feels like a return to the beginning, and then after that it's just a big outro.

Keep in mind I didn't listen to every single bit of it.

>>65843038
I see. Finale and Sibelius are the two big ones, but they're rather expensive, though Sibelius has cheaper versions with fewer features.

You could always go with Musescore or even Noteflight. Or Noteworthy if anyone else knows what that is.

>>65843073
>bump
The thread is very much alive right now.
I'd understand posting this earlier, but

>>65843174
Yeh, I figured I'd be hard pressed to find a willing set of ears.

As with most relatively long music it only makes sense listened to as a whole.

Thanks for checking it out nonetheless.

>>65843046
I'm guessing you have, but ever listened to this?:
https://www.youtube.com/watch?v=TO3YRZWLvQo

(I'll comment once done listening.)

>>65843308
I haven't but I'm a few minutes in and enjoying it very much. Nice one.

https://clyp.it/c0vnptee

Ok, this is my first song. I barely know any music theory, but I'm slowly learning through these threads. Would appreciate you guys giving a listen.

>>65837882

Is there some kind of software that can tell you the note to something by humming into a microphone or some shit? I have music in my head but music theory takes too long

>>65843601
If you have an iPhone, try the cleartune app. It costs money, I think.
You could also very easily just go through piano keys or something until you hit the note that you're humming. There are free online pianos.

>>65843541
sounds like a ripoff of chasing cars


nah, but it's nice. Do you have sheet music for it? at 0:50 i think the melody gets a little out of whack. Maybe you should vary it more in the beginning. It gets some nice variation when it slows down after the drums come in. What harmony are the horns playing? Also - during the bass melody - you could improve that with more knowldege of counterpoint.

The ending melody seems real weak on the piano - make a stronger cadence.

>>65843046
I hope you enjoy my unedited typed response during the piece.

>8 min
>out of nowhere
>9 min
>Bb Major
>16 min
>suddenly
>17 min
>bb minor
>19 min
>suddenly
>19:45
>mod to relative major
mad bastard
>20:10 or so
>A natural again
m a d
>still in relative major
M A D
A
D
>22 min
what's happening

>>65843790
Ha, I'll take that.

Thanks for listening.

I'm more of a beginning /prod/ guy with not a lot of theory experience, but I think the theory centered critique here could be very useful.
https://clyp.it/xhpgs3c2
thoughts?

>>65843046
>>65843790
I can't help but notice how whenever there was a major change it almost certainly occurred at a minute mark.

To clarify, though, by the end of the piece I actually ended up enjoying it a lot more than I thought I would during the first eight or ten minutes.

>>65843940
You got nootation for that? I wanna know what I'm critiquing here

>>65843966
Ah, sorry about that. I'll learn how to notate my stuff before whenever I post here next.

>>65843541
The chord progression is very pop music-y. Reminds me a lot of this: https://www.youtube.com/watch?v=hLQl3WQQoQ0
And maybe that was the point, but repeating the same 4 chords will get boring after a while. Try experimenting with the song structure, and break the pattern (I'm not sure how to explain this better, sorry.)

Also, I think the drums were off at first? I think the beat was supposed to line up with the changing chords but that didn't seem to happen.

Also, the bass line is wonky. For example, at 1:36, the phrase you wrote ended on a IV, which was a little jarring. Instead, you should resolve on a chord tone (I, III or V, which would be C, E or G).

>>65843952
Indeed, came up with a pretty rigid idea and structure for the piece and then made it in an evening.

>>65843997
>spend hours notating your music
>get responses like this >>65843790
honestly you're far better off just going to reddit

>>65843770
Thanks for listening.
No sheet music, I made it in FL Studio.
I'm not sure what you mean by harmony. The notes that the horns play go C and E, then D and F, then E and G.
Yeah, the bass parts are a little unsatisfying. I'll look up counterpoint.
Thanks for your suggestions.

How can I make my chord sequences more open?

I have a progression in E minor that goes i-iv-v-VI. It's tight homophony, and I was thinking of splitting the chords up to make it more open. Like splitting Em into two-note harmonies, E-G and G-B, and playing those seperatley. What do you think, /comp/?

I made this in an intro music theory class
https://clyp.it/2inhafwi
The assignment was to make a short classical song in rondo form (ABA).
I received a good grade, but nothing in critiques or comments. What do you think?

Sorry for the low volume

>>65843997
It's not a necessity, it's just nice to have.

>starting off the piece with the tonic and a chord using flat 7 and flat 2
It's like you're after my heart.

>fading out
Not sure how I feel about it, though ending an ostinato figure is difficult. Not sure how well it applies to a more pop-ish piece like this, but look at how the ostinato ends here: https://www.youtube.com/watch?v=U4VQgKGbEkg

>>65843940
What program do you use?

>>65844358
FL studio
>>65844311
thank you very much

>>65844053
Oh, sorry, I guess I should have elaborated in complete sentences and gone in detail while I was listening intently to that person's piece and paying too much attention to it to do much else.

>>65844009
Thanks for listening.
Yeah, the drums are in 3/4. I thought it sounded cool.
Thanks for your criticisms.

>>65842580
don't listen to these guys. transcribing melodies
step 1. learn to sing it. You think this is stupid? It helps internalize what you're doing. It helps you to intimate know the piece before you even start figuring out what notes are. It will make everything easier.
2. Once you can sing the whole thing by memory (or at least, sing a whole section by melody) you can slow that shit down yourself, with your voice, and pick out each note on your instrument / piano if you play a windy instrument and can't sing play at the same time.
3. Once you learn all the notes you obviously have to learn how to play it in time yeah, but learn how to play it with all the inflections and nuance of the original

and yeah, you can't transcribe everything by learning to sing it and then slowing it down yourself. Some stuff is too fast. Slow it down, software like Transcribe or Anytune are great

>>65844227
What do you mean by open? You mean less defined, more vague sounding?

>>65844960
no, less tightly confined. I have one chord per bar and simple harmonies over those. The homophony sounds so bland. I want to be able polyphony

>>65845018
I guess you need voice leading? Can you post a screenshot of what the chords look like? For good voice leading you would change the chords to 4 voices (probably) and keep each voice in relatively its own range, using inversions of the chords. There are certain rules but I can't describe them fully, they're in the links somewhere. For the doubled note of the chord it's usually the root or alternately the fifth.

An easy way to get more polyphony once you get your voices in the correct range and aren't just using root-position chords, you can use suspensions and non-chord tones such as passing tones, like if a certain voice in one chord is a third apart from where it is in the next chord, you can make it step down instead of jumping the whole third....

sorry if that's vague, I'm starting from counterpoint so I haven't got to part writing in the traditional harmony style so we're approaching from the opposite direction kind of.

>>65844271
Pretty nice. Can you post sheet music?

>rondo form
>ABA
Ternary form, you mean?

The A section was alright, slightly repetitive. I'd change something in the second period, maybe the melody, maybe have one of the other instruments play a countermelody or something, I dunno. There's something oddly dissatisfying about the melody ending on the leading tone each antecedent, I dunno what it is.

I quite liked the transition from A to B. The route taken had a lot of pleasant surprises, going from G to D, but suddenly to b before returning to D. Exiting A was done nicely, with that motif we've come to expect at this point suddenly used in sequence up. I liked it. One problem was that all the disparate voices were slightly too disparate. Not really sure how to explain.

The B section was lovely. (For my purposes I'll say it started at 0:57.) The full pause was kind of odd sounding, but the way the instruments gradually came back one at a time was really nice. Actually, the B section was in itself a well done ternary form.

Honestly, the B section was too lovely. I was kind of annoyed when the A' section popped right back in like a party animal interrupting a romantic dinner or something. The way the transition from A to B was made into an ending for the piece was kind of neat, though.

The single biggest problem is that the A and B sections really don't suit each other well at all, other than being closely related keys. They're also very out of proportion in their length. The A section is way too tiny and simple while the B section is its own ternary form.

do you guys actually do pen and paper composing vs software score?

>>65845805
I use pen and paper. Sibelius when the piece is done so I have a nice-looking score. There's a real danger in relying in a computer playback.

Anyone thought of transcribing pop songs on the piano for some extra small cash?

Suddenly that thought occurred to me, it's simple enough and I can charge maybe $10 per piece. I could even write parts according to the player's competence level.

>>65837882
Thanks for the very informative OP.

>>65845304
Wow - Thank you!
I understand what you mean about the 2 sections not matching eachother. The assignment required the A and B sections to be contrasting moods - perhaps I kinda overdid that contrast. I'm not sure how I could make the two complement eachother well.

There's also a reason why the A section is as simple as it is (Can't remember if it was another requirement, or if I just liked that melody) You're right though, I should have added a countermelody (I think I was afraid of taking instruments away from playing chords, it's a quartet so I was limited). The repetitiveness is also the reason the A section is so short, it might have been unbearable if I kept repeating that melody more than 3 times.

Yeah, it seems like all these problems would be fixed with a better A section theme, one that is longer and less peppy.

I don't think I can get you that sheet music. I have the .mus file, but I need to buy Finale in order to open it.

Once again, thanks for replying!

>>65846078
I had a friend who did something similar, he transcribed pop / classic rock songs into marching band pieces and sold them to high schools and colleges.
He says his transcriptions sold in the hundreds. He didn't do it full time, but it was a nice second source of income for him.

File: Untitled.png (5 KB, 1046x154) Image search: [Google]

5 KB, 1046x154

>>65845264
The chords are just i-iv-v-VI in E minor. One chord per bar.

>>65837882
Piano confirmed for best instrument

>>65844311
Played this once in my high school orchestra. More beautiful than I remember.

>>65845805
I only handwrite if I'm writing at the piano or guitar or cello. Mostly write at the computer.

Performers expect a typeset score in the day and age and handwritten is only good for capturing ideas without having to worry about bar lines. The end result is always going to be type set (unless you're doing some kind of graphic score) so handwriting is essentially a bit of a waste of time - you'll need to recreate it in finale/sibelius eventually.

Handwriting music feels really fucking good though, so always fun to do

>Thread is up

nice

Reposting something I posted a while back, something Suzuki-ish I wrote for beginner violinist and piano accompaniment. (No violin in this recording, but the right hand of the piano is basically the violin part.)

https://clyp.it/kgd34th4

File: chords.png (16 KB, 880x468) Image search: [Google]

16 KB, 880x468

>>65846350
I changed it a little. It's hard to figure out what kind of thing you're going for, and I'm also new to this. There isn't an easy way to learn voice leading but there aren't actually that many rules so I'd say just start reading about it.

>>65846122
Oh, one more thing, be careful of direct motion and implied parallel fifths/octaves. I assume there aren't any, or aren't many, actual parallels because you say you got a good grade, but implied ones should be avoided as well if you're writing in the classical style.

This is more of a 'keep them to a minimum' sort of thing than a 'do not have them ever' sort of thing though. You'd offend Fux, but well, so would many classical composers

>>65846122
(should've included this in the previous post, but)
For reference on forms and the relative sizes of sections, listen to this:
https://www.youtube.com/watch?v=jQLD_rPWXsE
IIRC every single one of these movements is in ternary in some way, except the last one.

(Mostly I just wanted an excuse to post this piece again.)

File: fun with voice leading.png (11 KB, 1319x228) Image search: [Google]

11 KB, 1319x228

How does this make you feel, /comp/?

>>65837882
bump

>>65848263
>Similar motion all over the place
>voices dont stay within their register, but all shift down an octave by the end
>All the same rhythm, no independence of parts

Feelsbadman, but as long as it sounds good should be ok

>>65846027
And what's that?

>>65850323
never rely on the dynamics you put into a notation software and the playback you get back, they dont reflect what actual players sound like. fff flute in low register is always going to be very quiet, no matter how loud sibelius/finale plays it back to you. Likewise flute in high register is going to be piercing and extremely loud even at mp or mf.

You have to use your knowledge of orchestration and your own judgement when adding dynamics to a score. The playback on a notation software should only really be used for checking the non-dynamic elements of a piece, ie melody, rhythm, harmony, etc.

>>65850161
It's mostly a proof of concept, it's not like you would go the whole circle in an actual usage of this progression.

>>65850749
what kind of concept are you trying to prove? also can we have audio / clyp.it?

File: _006.jpg (1 MB, 1920x1080) Image search: [Google]

1 MB, 1920x1080

>>65837882

https://soundcloud.com/catilluminati/first-pioneers-feat-infuhmus

>>65852572
I think you missed the soundcloud thread buddy

>>65849380

File: Anagrams for Flute - page 6.png (43 KB, 593x861) Image search: [Google]

43 KB, 593x861

Bump with a (section of) score from last year

Does anyone here know anything about contemporary asian music and why it sounds so jazzy?

>>65854170
contemporary asian music as in kpop and stuff?

>>65854242
no kpop is just western music done badly, more talking about japanese music

>>65854256
again, contemporary as in pop?

>>65854170

Your post is worthless without examples. I demand some now.

File: Screen Shot 2016-06-22 at 7.51.39 AM.png (161 KB, 1006x1218) Image search: [Google]

161 KB, 1006x1218

>>65854132
got a recording? Here's a flute solo I did as an excercise about half a year ago https://soundcloud.com/benbartlett/flute-solo

>>65854359
Yeah I have a full recording here:
https://soundcloud.com/psllbof/anagrams-for-flute

Not a lot of time for a performer to breathe in your piece. Nice writing though

how do I make music I like instead of spending the whole time thinking

"I wonder if people like this" "hmm yeah people are really going to like this"

drives me fucking insane

>>65854748
Write moar.

>>65854761
/thread

we literally don't even need a general after this

>>65851580
Can't do that right now.
The progression is
A min - G#min - G min - F# min - F min - etc.

>>65854748
Just write music you like. If you like listening to it, not just once but over and over again, others will too.

>>65854529
Really dig that piece of yours. And yeah, I thought it would be easier to write the texture as constant 8th notes, and let the performer play rubato and breath with the phrasing. I realized the score i put up wasn't the final one, I added more indication of where to pause and breath, but there are definitely still places where it's still awkward either way.

i miss /prod/

there should be a weekly/threadly/whateverly composing excercise/challenge that we can all try together.

File: 10690136_1700659680161329_6221400828904271329_n.jpg (109 KB, 776x754) Image search: [Google]

109 KB, 776x754

>>65856846
We had challenges before, but let me:

THE _NEW_ /comp/ COMPOSITION CHALLENGE #1

Compose a song that is no more than 60 seconds long. You are free to choose tempo, time signatures and other characteristics yourself, but here's the catch:

__you MUST modulate within 4 bars of the last modulation__

That means that when the piece start, you must modulate to another key by the end of bar 4. You can also modulate in bar 3, 2 and 1, but when you modulate, the "counter" resets, and you have a limit of 4 new bars before the next modulation.

No more, but possibly less, than 4 bars between each modulation... OKAY?

Example: *piece starts in c minor*, bar 3: c major, bar 7: a major, bar 8: e minor etc.

Good luck.

>>65856846
we also have weekly comp learning sessions (though we've only had one so far)

>>65857020
Personally I need a limit on how often I can modulate.

>>65854170
>>65854316
Not that guy but I think he might be referring to projects like Koenjihyakkei

https://www.youtube.com/watch?v=XCKyRweCR7U

Don't know if this link will work, and if so I'll upload it somewhere:

http://javanese.imslp.info/files/imglnks/usimg/2/2f/IMSLP23226-PMLP53048-Rameau_Harmony.pdf

That's Jean-Philippe Rameau's Treatise on Counterpoint, which, in my opinion, next to Fux's Gradus, is the other essential text on counterpoint.

>>65858195
If it's so hard to be creative, why don't you just put your song in 60bpm and modulate every 4th bar then? 15 modulations.

>>65859370
It was mostly a joke.

Half-considering your proposal though.

I started writing some generic vidya game battle music, I was wondering what you thought of it. Just the theme though: http://vocaroo.com/i/s0tV1809FJl1

>>65860143
Kind of hard to hear everything clearly because it all piano, but it sounds decent. Phrasing is a bit too busy, but I think I can hear that you might be doing a call+response kind of idea, which would fix that problem if you use different instruments for that. Also that bit at around 12/13 seconds is almost a little bit too much too soon. I feel like that could be effective later in the piece, after we've gotten used to the motives of the main theme.

Bump for doing this challenge

File: IMG_2976.jpg (2 MB, 1936x2592) Image search: [Google]

2 MB, 1936x2592

>>65861263
>>65857020
sketched out something in my head at work. Will get home and check if it's shit and write a B section.

>>65857020
Went with 6/8, eighth = 180 beats per minute so I would have 180 beats / (6 beats per measure) = 30 measures total.

I did so to have more measures to have some kind of form, but with how fast it's going it's getting difficult to distinguish modulation from tonicization. Is there any concrete criterion for the sake of this challenge I can use?

Also, in measure four, I start with a VI chord (in D minor, so BbMaj) and move to a G#dim°7, and then in measure five I resolve to Amin, the minor dominant. For the purpose of this challenge, did I modulate to A minor in measure five or the second half of measure four?

>>65862063
>Is there any concrete criterion for the sake of this challenge I can use?
I'll say do what you want. Had I put some more thought into this beforehand, I could've come up with something, but I don't want to possibly exclude others' pieces now. You can self-impose whatever rules you want, as long as it's within in the boundaries of the challenge. That means that you at least have be able to make a case for say, A minor, theoretically. You don't have to tonicize if you don't want to, if I understand you correctly.

>For the purpose of this challenge, did I modulate to A minor in measure five or the second half of measure four?
Hard to say without hearing, but I'd imagine you would arrive at A minor in measure 5 because a dim7 is by nature ambivalent and Bb major certainly doesn't help reinforce the notion of it substituting the E7b9.

File: 10246308_10153058763376277_7575949186732365403_n.jpg (32 KB, 480x445) Image search: [Google]

32 KB, 480x445

>>65863536
Oh, and also, you don't have to prepare you modulations. Simple sudden key changes are acceptable too. It's all about what you can pull off convincingly.

Here's an example of how it can be done:
https://clyp.it/23najhge

Is this any good?

https://clyp.it/d1pot4cn

>>65837882
you like that picture op, im the first one who posted it

this might not be where to ask but you guys should know about all instruments. Any ways im looking for an 5 STRING electric bass around $600 and i typed in good 5 string bass on google, this is what i found
https://www.amazon.com/dp/B004081EGM/?tag=toms0e6-20
https://www.amazon.com/dp/B00GEBZTPU/?tag=toms0e6-20

are these the best for the price?

>>65863932
sounds like an intro melody for dubstep

https://www.youtube.com/playlist?list=PLTKhUdPIHIuhhCrMuKJWcjnXUfAN3f5Mn

This is a playlist of videos on learning music theory. Is this any good?

https://soundcloud.com/kludgybrain/undone

Can a decent composer help me come up with some chord progression idea for the verses? I've only come up with the intro so far. Also should I use this bit as the intro? I like it. Make a recording of your suggestion and link it to me?

>tfw writing open G double sharps
Having a lot of fun with this challenge.

>>65865211
It sounds cool.

My understanding of pop music form is very lackluster, but personally what you have there sounds perfectly suited for that. I could easily imagine the singer coming in on the third time that motif repeats in that recording.

Bump while I mow

>>65866808

Posted this in another thread, figured I should bump with this since it's interesting and /comp/ related
https://www.youtube.com/watch?v=cx1WuZIbrVI

>>65863932
PARALLEL 5THS
>PARALLEL 5THS

Sounded nice. Nice use of the cadential six four as a standalone dominant chord. It felt like it really wanted to modulate to III at the end for some reason.

File: 13530268_10206973162703771_1871209366_n.jpg (70 KB, 720x960) Image search: [Google]

70 KB, 720x960

>>65857020
>>65861882
finished up. Happy with how it turned out, I liked most of what I composed in my head.
https://clyp.it/dxevskbw

Just started learning using Schoenberg's Fundamental of Music Composition
What are some things I should keep in mind?
I can't afford a teacher.

>>65869902
Nice. It's kind of 41 seconds over the allotted time, though.

>>65870036
The chapter on self-analysis is critical.

Fuck, have to wait until tomorrow if I want to record my part.

So how would I record my part, and then get a midi piano to follow the tempo? Since overdubbing is such a pain and my midi controller happens to be broken.

>>65870081
i'm gay i read at least 1 minute long.

>>65870265
To be fair 60 seconds maximum is killer.
Surprisingly almost as limiting as no four measures without modulating.

>>65863932
I dig it. I'd say the second half of the melody is weaker. The first part is bouncy, it feels original. The second half I think lacks a little bit. It doesn't have the syncopation, which I think i really missed. The first half has this syncopation, and then you bring it back but you develop it, so the syncopated motives use two notes. I think the second half repeats too much considering that it's less interesting than the first half of the melody. I also think the very last phrase at 27 needs a little rhythmic difference to match the intensity that the high pitch is giving it. I think it needs more to make it climactic. Overall, dig it. Not sure what your plan is with this, if you have vocals, then i think a lot of what I said about the melody being boring is moot, since it should stay in the background, but if this is the primary melody I'd consider figuring a way to make the second half as fresh as the first.

>>65869382
not that guy, but why would you care about parallel 5ths in non classical styles. They sound good in and are part of the contemporary idiom.

>>65870238
I only know how to do this in my backwards-nobody-uses-this daw. But most DAWs have some process of beat mapping you can use, I've done it in Pro Tools and sure it's possible in Logic. Or you could just like, record to a click my dude.

>>65870685
>why would you care about parallel 5ths
it was a joke.

This is probably the stupidest question on here. But when I have a sound in my head and a melody, how do I know what notes to give each instrument? I can write some mediocre piano stuff (that I can't even play myself) but I can't for the life of me write for multiple instruments properly.

Also here's a piano thing I wrote. Would love feedback. https://clyp.it/viagjjsh

>>65869902
Fuck this is awesome. If you could bothered to share your thought process on how you strung those chords together it would be much appreciated. I can't figure out how they relate to each other.

>>65870036
make sure you study harmony and counterpoint and try writing a bit before tackling that book
I know it seems simple but trust me

>>65871319
Learn about harmony, part writing, and counterpoint

Ok ive done my job

>>65871319
That's basically the fundamental question behind instrumentation and orchestration.

Er, sorry, will give feedback in a bit.

File: ye.png (88 KB, 1044x617) Image search: [Google]

88 KB, 1044x617

>>65854359
prelude lapres midi dun faune quote intentional?
only 4 notes transposed, ive probably just listened to it too many times haha

>>65869902
What methods did you use to modulate? Did you apply chord any substitutions?

>>65871453
yeah sure man. So the first two chords are the firs two chords of Robert Glasper's Ah Yeah. stealing is always a good thing. the Ebmaj7/Bb and Ab7#11 are similar to what is going on there. But really I'm functioning in this kind of Bb major area. The G-7 and A-7 with the flat13s are acting similar to Eb and F respectivally, so we're implying a Bb tonality, I nod at this with the Bb rooted chord but don't quite give it to you since it's actually an inversion. The Ab7 chord at first acts like a bVII7, again highlighting but not clearly defining this Bb tonality, but then we get a change of function. I resolve the Ab down a fifth to a minor chord. Like how I used two adjacent minor chords in the first two chords, I use C#-7 and B-7, this is highlighting an A major tonality. When I introduce the Bb7alt chord, sets up for a resolution to A, but I don't give it to you. I again deceptively resolve this down a 5th to a minor chord, this time as part of a II V to Db. The V is the Ab7#11 again, but it's functioning differently this time. Now instead of resolving down a 5th as expected, I resolve down a half step, modulating to Gmaj7. This is the first time we get a true major chord and a completely spelt out tonality, so I sit on it. The sus chords in a row is just gospel bullshit but it works and gets me back to the beginning. Skip to Bar 11. I set you up with an Ab7#11, before this resolved down a half step to give us a major7 chord, but now I resolve down a maj 3rd, which is not normal, but you can consider the Emaj a substitution of Gmaj (Bartok Axis system bullshit). Harmony here is simply pattern based, when I hit the B-7 I flatted the 5th for extra spice. I'm building to a climax so I want extra crunchy chords like Bbsus4 flat9 flat13, it's a flavour thing it's not super sensible. To maximize spice on the climax note, I use a Sexy Voicing, a D+maj7 over an Ab root. Next two bars are a different interpretation of the first 2 bars. sorry for writing an essay.

>>65869902
Cant hear anything

When writing for, say, cello and piano, how much of a fig should I give about voices crossing?

>>65871643
Hah, not intentional at all actually. But I definitely have listened to that piece a lot. I think I even saw it live just a few weeks before I wrote the piece. Thanks for noticing.
>>65871682
I am mainly modulating through deceptive resolution and change of function of dominant chords. The Ab7#11 in the 2nd bar is acting somewhat subdominantly towards a Bb tonality but then deceptively resolve down a fifth, indicating a secondary dominant function to a tonicized C# in what you shortly assume is an A major tonality. Do you hear all this? Not really. Did I think of these key centers when I was writing? Not really either, but a post-writing analysis indicates to me that that is what I did to make this work. I did use chord substitution (albeit unconventional, Emaj for Gmaj, but there is some bullshit axis system theory behind it) for the entrances into the different B sections

>>65871911
if it's a contrapuntal texture between the piano and cello, I'd give a fig or two. If it's an accompaniment + melody texture, I'd give zero figs aside from the obvious "does it make sense" fig.

>>65871877
Sorry, it's just really quiet since i used laptop speakers.

>>65871834
Thank you so much for typing all that. Im going to try and wrap my head around all this for the next day or so. Im starting to realize how over my head a lot of this stuff is. But thank you again man. I really do appreciate the help

>>65871911
because both those instruments have like crazy large ranges they should tastefully cross sometimes to change things up, just study similar repertoir

is the /comp/ challenge going to be a thing now? We have those learning streams we're doing - and now challenges? this could become an amazing general

>>65871911
Like any standard counterpoint it's good not to cross them, however if that's what you want, then go ahead but be mindful and consider your voice leading.

>>65865095
I would go with the ArtofCounterpoint channel. His lessons are great + funny italian accent

Why is the maj7 and min7 so beautiful? I love writing chord progressions based on them. Doesn't sound jazzy at all, but rather spacey and lush.

Who started the whole trend of maj/min7s?

>>65873863
7ths have been a thing since the 1500s, probably even earlier

>>65874161
The maj7 was considered a dissonant interval for quite a long time.

>>65874270
they still used it though, they were just very careful about how they used it. Always carefully prepared and handled, just like all dissonance.

And then you have guys like Gesualdo who dont give a fuck and just write crazy shit:

https://www.youtube.com/watch?v=6dVPu71D8VI

>>65874352
I don't know how the fuck Gesualdo came up with his music in the 1500s. Completely beyond me.

https://www.youtube.com/watch?v=T_Q_5G5LMS0

That m2 in the 2nd Soprano from 1:38 to 1:42 (on the line Deus) is one of my favourite parts in Gesualdos music. I have no idea how someone in the 15th century thought a m2 sounded good.

>>65837882
Someone should make a discord for this so that people that actually care can stick around and contribute and the thread won't be swallowed up in /mu/ shitposts

>tfw couldn't get one bit of composition done today

>>65874270

Was Satie's Gymnopedie no 1 the first popular 'classical' music to feature the maj7?

It sounds so out of its time now that you think about it.

Regarding complicated pieces a minute long, the third movement of this comes close: https://www.youtube.com/watch?v=IpROC4gsZhQ
Starts at 11:24, ends at 11:39, so it's 15 seconds over, but

>>65873863
Cmaj7 is the best chord ever

https://www.youtube.com/watch?v=FVKb3DwPFA8
WHY IS THIS SO GOOD

>>65876317
not even close
bach used it and it was old news by then

>>65876409
becasue its Dvorak. He's a master composer. When you learn everything about composition and do it full time for your whole adult life you get pretty good!

>>65876317
Satie was only "out of his time" in that he was incredibly simple to the point of monotony, compared to the lush and vibrant works being produced around him, often with no repetition, utilizing whole tone scales and modes, and full orchestras (Debussy, Ravel, Strauss, Mahler etc) and constant modulations and changes.

There's a good reason Satie called his music "furniture music" it was so simple and plain it just sat in the background, you dont even notice it.

Satie's piece "parade" is excellent though, some very unusual instruments including car horns and wine bottles

File: 1-1.png (49 KB, 2303x703) Image search: [Google]

49 KB, 2303x703

hey beginner here how do I improve this melody? what's wrong with it?

https://clyp.it/vohfkiyx
(only first eight measures)

>>65877305
Try to think about which chords you're outlining in each bar. For example in bar 2 you're on the 7th scale degree, which is kind of a strange place to be, especially considering you dont outline a VII chord (the A isn't part of a VII chord) then on bar 4 you return to this 7th scale degree, which feels strange.

The rhythm is ok for a simple melody, could have some more variation, but its fine at the moment. Try to focus more on the notes, and dont be afraid to repeat note from one bar to another. I'll do a small example to show you

File: Melodies and chords.png (30 KB, 1202x237) Image search: [Google]

30 KB, 1202x237

>>65877305
Here's what I would do, and I've shown the chords I'm outlining. I tried to change as little as possible, but I squeezed the melody to fit into some V chords and to have slightly better voice leading (stepwise motion is always good!)

https://clyp.it/f0c2ezty

>>65877389
>>65877583
thanks man! that's some amazing feedback

>>65872441
I think we should definitely keep it up. we just need to decide how long to each challenge should last for. I think weekly makes sense. Might make sense to figure out a way to tier them so that more people can participate. This weeks is kind of tough. Could do something like:
1. Write a minute long piece that modulates to the dominant/subdominant/relativemajmin
2. Write a minute long piece that modulates twice, each to a key at least 3 sharps/flats away.
3. write a minute long piece that modulate at least every 4 bars.

>>65873863
I'm attracted to m9 myself. Every time I hear one, I get a boner.

>>65877305
>>65877389
>>65877583
I disagree with your melodic changes in the two bars. The notes he had were fine, and even in a strict classical setting they are escape tones, which are perfectly acceptable (and I think, nice). Your change in the second bar, however, leads to a hard to sing interval, not to mention 3 leaps in a row which really botches the flow. A great change you did make, which first anon should really focus on, is how you rhythmically brought the melody to the close after the climax.

>>65877305
You should sing your melody and it will highlight problem spots. The only true problem spot is between bars 4 and 5. two leaps, a third and a fifth, is kind of awkward. I would definitely change the E in bar 4 to an F/F# or an A. The way you've handled your climax is not super toasty. Putting your climax at the start of the 5th bar is a little ineffective. You've got 4 bars of build up, and then 4 bars of come down. I personally like to put these melodic climaxes further. In this situation, in bar 6 or 7, it's a small difference that can help push your music forward. You also hit your climax note, and then you sit in that register for quite a while, you have two bars made up of notes that have been higher than all your previous notes. This takes away from the impact of the shape of your line. I would try to get back down to your established registral height quicker, so that the high note has a lasting punch. You need a little more rhythmic variation, especially to close the phrase out, and the other anon has a great example of how to do that.

>>65844053
The irony is that that guy would probably have gotten far better responses if he had notated his crap instead.

I'm not gonna waste 24 fucking minutes listening to his little crappy piece, but I'd definitely be willing to look over his score.

I have a request, anyone know of any musicians/guitarists who wrote pieces on the electric guitar? I'm talking solo pieces, no accompaniment, just featuring the electric guitar.

I know Joe Pass is one, but is there any other more?

I have tried asking /gg/ but they don't really care.

>>65879316
Tristan Murail - Vampyr!

https://www.youtube.com/watch?v=4kshdlU2hD8

What is the best software to make sheet music using a computer keyboard?
Unfortunately I don't have any money at all for a midi keyboard

>>65879497
I think this is the wrong question. You can pay lots of money for SIbelius and Finale, and they will do you good, but you can ask yourself whether you really need them with all their functions. Freeware scorewriters like Lilypond you can start out with and see if you miss anything. I haven't used it myself though, but you can try and see if it has good support for keyboard input. I think keyboard input is more standard than midi input, actually.

do you follow any rules when harmonizing a melody? I have the habit of going over several different chord progressions and picking one by ear, even picking progressions that will leave me full of nonchord tones. is this bad practice?

>>65879066
>his little crappy piece
it was cool though

>>65879497
Sibelius

>>65879595
I tend to go by ear, but recently have been trying to throw in more V/V and applied chords in general to extend what I would usually come up with.

You can delay resolution with applied chords so really good for extending pieces and making them sound "deeper / more emotional" for want of better terms

>>65879595
going by ear is the best way to write music. Afterwards, take theory to it, and see if things make sense. Non chord tones are not bad, they just need to be handled correctly. Or sound good, that trumps everything.

>>65879497
>>65879833
And if you want something free that still works really well, there's musescore: https://musescore.org/en.

what should I compose. someone give me something. form, instrumentation, something stupid, whatever

>>65882406
7/8 sonata in any major key without ever playing the dominant chord

>>65882915
fuck you i love this idea i'll probably do a sonatina tho

>>65882915
wut

[spoiler]how do you write the development[/spoiler]

>>65882984
fuck i forgot spoilers don't work on /mu/

>>65844227
learn piano

>>65876409
>not the jacqueline du pre recording
oh anon...

Tell me what you think.
http://vocaroo.com/i/s1u5KAv3E0qJ

>>65882984
You can be in a key without blatantly defining the tonic. That's what I'm going to do anyways. You also technically don't need to go the dominant. Some sonatas go to relative major

>>65854256
kpop is actually way better than anything in the west and japan

>>65883529
>Sorry, the requested media could not be found. It may have expired or been deleted.
Sounds good man

are people in this thread interested solely in classical music?

>>65885343
not strictly, but if music isnt "composed" (ie thought out using some kind of method other than "it sounds good" and notated accordingly) then no

>>65885343
i'm not that personally interested in a lot of classical music, although I do study it a lot. I'm mainly interested in Jazz/Pop/Rock stuff. I'm definitely super into classical-music-that-all-jazz-musicians-like-for-some-reason like debussy, stravinsky, hindemith, ravel, etc.
>>65879316
Check this out it's probably not what you're after but https://www.youtube.com/watch?v=THFJw0-0Y_Q

>>65883211
>implying women can play better than men
She's a meme cellist

>>65885389
what's wrong with that?

>>65885802
whats wreong with what?

>>65885840
>thought out using some kind of method other than "it sounds good" and notated accordingly

>>65885948
nothings wrong with that, thats what we want to see
if music is made purely by ear theres nothing to talk about

>>65882984
dim7

>>65885613
>implying capuçon can play better than du pre
This meme's death is long past due

>>65886255
He does desu
>muh elgar

>>65885986
You can still talk about music purely by ear, all the theory is still there. You just need to be able to hear it yourself, which is a you problem.

>>65887369
Sure you can do that, but look at the thread. You get more replies and better analysis if you provide noatation.

>>65887369
yes but if you apply theory your not "strictly using your ear", thats what i mean by that

>>65887681
this is fair. good point
>>65887728
A lot of people play entirely by ear but are applying theory. They just know it intrinsically rather than academically.

>>65879497
pirate sibelius

>>65886634
>>muh elgar
>her weakest performance
Don't get what you're trying to say.

>>65887817
thats not theory then lol, thats "i know this to sound good so ill do it again"

>>65863932
it sounds like nobuo uematsu

how does one get out of making experimental music. I just can't seem to switch over to something more common. Or something like that.

>>65888258
Try writing something suspiciously similar to the music of a composer you really like, but don't just take the same harmonies or accompaniments or other surface-level mimicry. Really dig deep and figure out the fundamentals behind why their style sounds like their style.

>>65888037
that's theory.

>tfw all i want to do it write beautiful classical music
>tfw i dont understand all these fucking rules. literally dont even know what a V/V is
think im gonna give up tbqh

>>65889801
When I started composing I didn't even know what a tuplet was and now I've written a full length string quartet.

>>65889801
Don't! Write beautiful classical music with what you already know. You don't need to know what a V/V is to do write something nice, or even classical. Classical hasn't been functional harmony in a long time.

What makes your music awesome is not advanced *anything*, but dramaturgy, and something that is easy to forget, namely actual composition. The _structure_ of the music. Stuff like "if you have a melody of long notes, compliment it with a curly melody", "after loud, let there be some soft, and after fast, let there be some slow", "tease the listener until he can't take it anymore, and then hit him with the triple of what he expected, or subvert him completely".

Also, the most important part of music SUBJECTIVE OPINION INCOMING is character. That what you write is recognizable as something human, a mood, an emotion, a state of mind, a personality etc. If you want to express joy, then write something that goes fast and in major (for example) and try to find the rhythm in the speech patterns of people who are full of joy and use those rhythms in your own melodies.

Harmony, rhythm, form, orchestration... these are all just vocabulary. Even the least eloquent person can touch another person's heart!

I'm going crazy on approaching tensions in jazz. Yes correct, substitute every single fucking chord but, how the hell do I decide which 'wrong note' to include in the chord? Is there like a general guideline or something

It's annoying as hell

>>65893040
Not sure what you mean substitue every chord. You meant chord tone, right? Basically stick to what's diatonic (unless you want to imply something else). Use good voicings, (avoid minor 9ths). Go anything I can look at/hear? I can help you a lot more that way. In fact, just learning good voicings helps you understand tensions as a whole.

Who /gooutside/ here

I want to hear stories and protips and stuff. Anything that involves /prod/ and other people.

>craigslist people stories
>show stories
>autism

>>65893098

Yeah, voicing seems to be the thing. My method of voicing is strongly contemporary/pop-ish, think Japanese/Korean pianists. It seems like I emphasis too much on the 3rd and 7th, not sure how to describe it..

For example if a chord demands Am7, I would play it, from bottom to top, A,E,G,B,C.

Another observation I made is that jazz musicians like to use chords spaced in fourths, although im not so sure how to use it correctly.

When I mean substitute, im sort of exaggerating but what I meant was, how the heck do I change the notes in the chords while still retaining the function of it. For example, in a 2-5-1 progression, the V7 would normally be played as a augmented V. There's also the extreme whereby the entire tonic is substituted for a major triad 2 semitone above it, sort of like II/I

>>65893393
You usually don't change notes in any chord besides the dominant. If the piece calls for an Am7, you play an Am7 or extend more diatonically. It makes sense to alter dominants because usually the altered notes lead right back to the tonic. G7#5 is a great example

F ---> E
D# -> E
B ---> C
G ---> G

G13#5#9 Works in an extreme case too, leading right back to Cmaj7

E ----->E
C ---> C
A# --> B
F ----> E
D# --> E
B ----> C
G ----> G

tldr; You can alter any note besides the third, root and seven in any dominant chord.

>>65893170
Learn the basics of playing a (specific) woodwind instrument before you try to write for it. Or a brass instrument. I'm never doing that again.

>>65893877

I have seen tensions in the tonic too, like a #11 chord, seems to be common.

From your examples, it seems the way tensions work is to write notes on top of the primary notes of the dominant that are very close to the target chord I'm going to?

>>65893393
So learning some simple patterns is a good way to start using tensions functionally.
A common II V I pattern is
bottom to top, bass notes in brackets (D) C F A E :: (G) B F A E :: (C) B E G D. That's a simple II V I, very clear, emphasizes step wise motion. And you can see how these patterns can be evolved. Then if you want to alter tensions, you have to base things on your melody, your function won't change if you still keep your important notes, 3 and 7 with the bass note.

If we look at the voicing you like, A E G B C and we want to use that in a two five, but also want to alter it a bit (you mentioned using an augmented chord). You don't always need a 3rd or 7th if you can voice lead well and keep the "spirit" clear.
II: A E G B C
V: D Eb Ab C
I: G E F# B

Using the triad a whole tone above a chord is usually not a substitution. It's just polychordal voicing using tensions 9, #11 and 13. You can do it on maj7 and dominant chords, especially dominant chords like IV7 or bVII7. For example:
Bb Ab C E G. No third required because everything else keeps the spirit of the chord.

>>65894326
the best way to think tensions is to think of them as extensions of the harmony built up in thirds. On major and minor 7ths, the ones that sound nice will generally be the ones that are a major 9th above chords tones. C E G B D F A. F will not sound good because it's a minor 9th, so often people alter it to F# (#11) even when it's not diatonic for added spice.

Also forgot to mention how 4ths voicing work. There are some stock patterns that people tend to use a lot. for example E A D G B. You can use this as an E-7, a G7, a Cmaj7. a very stock pattern is something like
E A D G B
F# B E A C#
G C# F# B E
B E A D G
C# F# B E A
and those chords in succession can be used for multiple functions, such as Gmaj, E-7, D7.

You can also just use smaller quartal structures in other voicings. Such as a C maj7 chord C B E A. Or C -octave- D F# B E. G7 chord, G F B E A

>>65893877
dude what is that nasty ass voicing. TWO upper structure minor 9ths? Why you using 13 and flat 13. Why you putting a sus4 above the 3rd. Come on dude.
Way better way to voice G13#9b13:
Ab -> F#
Eb -> D
Bb -> A
F -> G
C# -> E
B -> B
octave gap
G -> C

>>65894363


The whole idea of 3 and 7 being the most important is still kind of foreign for me to grasp, because I always treat the tonic and the third as the characteristics of the entire chord. Very insightful posts, thanks!

>>65894672
Thanks for the 4ths voicings. I find them very common on the guitar, probably because it's pretty easy to play them on it.

Is anyone else here reading the Rimsky-Korsakov guide

It's fucking amazing

>>65894840
It's just an example...

why is it so rare to see melodies harmonized to the fifth of the root of a chord? e.g. harmonize the tone of G with a C major chord. People tend to pick either the root, third or even seventh of a chord before using the fifth. why?

>>65897537
Not sure what you mean by "harmonized to the fifth" but omitting the fifth is common due to the fact that your root is your root (determines what the chord is built on), your third determines the quality of the third, which is arguably the most important portion of a chord (that's not diminished/augmented),, and your 7th is a tendency tone which has high harmonic tendencies

>>65897710
thank you that makes sense
>Not sure what you mean by "harmonized to the fifth"
the melody playing the fifth of the chord

>>65898186
Ah ok I see. If you could provide examples I think we might gain more insight into what you are referring to

File: 51wzgK7t4mL._SX394_BO1,204,203,200_[1].jpg (38 KB, 396x499) Image search: [Google]

38 KB, 396x499

Is this a good book for learning composition? I have basic knowledge of music theory

What are your guilty pleasures? Mine is Japanese pop music. I love the long chord progressions they use, and the turnarounds that they normally utilise is pretty jazzy

File: leonin shiggy.jpg (17 KB, 252x273) Image search: [Google]

17 KB, 252x273

>>65900515
p!atd, Ariana Grandes first album and Japanese Pop.

I also like this meme classical artist
https://www.youtube.com/watch?v=0j2JRcC6wBs

I should probably kill myself 2bh

>>65900515
>What are your guilty pleasures
Renaissance vocal music, particularly phrygian cadences
Baroque Fugues
Romantic era ballroom dances like polonaises
20th Century pseudo-tonality like rautavaara and Martinů
When a composer purposefully destroys a perfect major cadence, like in Schnittke's concerto for piano and strings

>>65893170
I go to composers workshops pretty often, last time one girl turned up with a massive bag of weed so I was pleasantly surprised and we partied way too hard for a week (as well as going to all the seminars and concerts of student works) always a good time, learn a lot, extremely positive experience but physically draining, dont get much sleep...

Also played a show not too long ago, set up my computer running FL studio, with my guitar running through a shit ton of effects, and also a MIDI keyboard hooked up. Played guitar with my left hand while playing basslines and chords with my right hand on the MIDI keyboard, completely improvised, just me and a drummer, turned out great, got some exceptional feedback from people. Always cool when an artist asks you to play at their exhibition opening, quite a turn out too!

>>65889801
a V/V is whats called an "applied chord" or "tonicization" or "secondary dominants".
You take the V chord, then go up 5 notes from there and build a major chord on that note. its 5 notes up from the V chord, making it a V of V.

This video explains, with some great examples:
https://www.youtube.com/watch?v=5Mrij-0_I58

>>65902088
>Renaissance vocal music, particularly phrygian cadences
>Baroque Fugues
>Romantic era ballroom dances like polonaises
>20th Century pseudo-tonality like rautavaara and Martinů
>When a composer purposefully destroys a perfect major cadence, like in Schnittke's concerto for piano and strings
Literally nothing to be ashamed of.

Mine is J-rock, anisong and video game music. I don't know if I feel so guilty about it though, because these genres have a lot more musical qualities to them than popular genres.

>>65902166
>video game music
as long as its SNES, Uematsu, or Jeremy Soule I'm ok with this. Maybe Aubrey Hodges too

>>65879316
Carson McWhirter
https://www.youtube.com/watch?v=F5MXZK9pupM
https://www.youtube.com/watch?v=pBHJ4tQsJbY
https://www.youtube.com/watch?v=SFWsU0NJvVY

>>65902209
>as long as its SNES, Uematsu, or Jeremy Soule I'm ok with this. Maybe Aubrey Hodges too
>as long as it's the most mainstream composers, it's okay

Please, tell me that this is not wonderful orchestration:
https://www.youtube.com/watch?v=EiQgcgGaz5I

>>65902289
>Japan
Didn't even listen.

>>65900515
Got any examples? (:

For the original question. I really like shoegazy and postrock stuff. Usually the more popular ones
>put down your pitchforks and let me finish
But I'll try random sharethread stuff from time to time

>>65897537
Melody notes have an emotion driving them. Here's how I feel them
root -> solid, "at home"
third -> charged, soulful, strong
fifth -> restless
seventh -> sad, weak, spicy

You'll often see the fifth of chords in the melody at the end of antecedent phrases, to help drive things forward without being unstable.

File: tumblr_inline_ngrkz3d3fO1szad63.jpg (52 KB, 500x500) Image search: [Google]

52 KB, 500x500

>you will never write something as good as op. 131

some1 post a new prod pls

File: stockhausen-and-singh-exchange-a-concerned-look.jpg (47 KB, 571x460) Image search: [Google]

47 KB, 571x460

>>65902764
>soulful
>strong
>at home
>spicy
mfw people use these heuristics to misguide themselves in making their music

BUMPING WITH IMPROVED COMPOSITION CHALLENGE. GIVE IT A GO. POST WIPS, TALK ABOUT MODULATION TECHNIQUES. POST PIECES WITH GOOD MODULATIONS

THE _NEW_ /comp/ COMPOSITION CHALLENGE #1 MODULATION. I want to open this up to more people since not many people seem to be doing it.

Compose a song that is no more than 60 seconds long. You are free to choose tempo, time signatures and other characteristics yourself, but here's the catch:

1. If you've never written a piece that modulates, now your time to start. Modulate to a different key somewhere in the middle of your piece, and then modulate back to the original key for the end. Keys that are commonly modulated to are relative minor or major and the dominant. These are good places to start. If you have modulated before, but only to closely related keys, try writing a piece that modulates to a distant key, 3 or 4 sharps/flats away.

2. If you're already comfortable with modulating _you MUST modulate within 4 bars of the last modulation__

That means that when the piece start, you must modulate to another key by the end of bar 4. You can also modulate in bar 3, 2 and 1, but when you modulate, the "counter" resets, and you have a limit of 4 new bars before the next modulation.

No more, but possibly less, than 4 bars between each modulation... OKAY?

Example: *piece starts in c minor*, bar 3: c major, bar 7: a major, bar 8: e minor etc.

Good luck.

>>65903655

no you have to call it a new comp

>>65904525
it's far better than using theory

>>65904583
yeah you're right, theory's really not going to do very much for you if you just have a lot of spicy domestic feelings to share

>>65904525
It's funny, cause I mostly agree with they way he characterizes them.

>>65904624
You've clearly misunderstood the point. They're just broad generalizations. I don't particularly use these to guide to decisions, but explain feelings. There's a reason people choose certain melody notes, they have particular sounds. Girl from Ipanema would be an entirely different song if it didn't start on the 9th. Don't take emotion out of music making