Archived threads in /mu/ - Music - 515. page
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ITT: The reason why /mu/ berates people for listening to /mu/core is because all internet music boards are born out of elitist hipsterism.
People like this are obsessed and hellbent on achieving a feeling in which they're listening to music in which very few or nobody else is listening to. They get off to this sense of ascended musical discovery.
'Entry-level' hipsters believe this ascended level is the thing we call /mu/core, but because people on /mu/ treat /mu/core like 'entry-level' hipsters treat radio pop, many of it's members...
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You know, I really wanted to respond with a clever shitpost, but I actually do kind of agree with this. nu /mu/ is a weird place.
I agree.
>>66028266
>being this insecure about what someone thinks of the music you like on a Malaysian finger-painting board
nah but, hating people for liking /mu/core is pretty not cool, by definition of being an individual with an opinion, you are yourself entitled to like things that others do not, and others are entitled to dislike things that you like vice versa ect ect.
Given that most of the albums in /mu/core are considered 'classics' by the majority of both intelligent and popular...
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previous thread: >>65956199
An experiment in a pen-and-paper composing general, made for all the theory autists
This differs from /prod/ in that it is more focused on art music and music theory. That is not to say /prod/'s electronic music is unwelcome, by all means, post here! But follow in the footsteps of the classical composers of the 20th century who experimented in electronic music. But remember, this is NOT /classical/. Any art music, such as jazz, is acceptable
Post clyps and accompanying notation so we can accurately critique your composing from a theory perspective
>Theory
http://tobyrush.com/theorypages/index.html
>tl;dr
https://gumroad.com/l/tldrmusic#
>Basic composing
https://www.youtube.com/watch?v=hWbH1bhQZSw
http://composer.rowy.net/
>Score Reference Library
http://imslp.org/wiki/Main_Page
>Fux's Counterpoint
http://www.opus28.co.uk/Fux_Gradus.pdf
>Foundation Studies in Fugue
http://www.mediafire.com/download/f1zbff56mxufhce/Norden_Hugo_Foundation_studies_in_Fugue.pdf
>Free Notation Software
https://musescore.org/
>Score Preparation Guide
musiciandevelopment.com/2016/05/16/how-to-prepare-a-professional-score/
>Orchestral Preparation Guideline
http://mola-inc.org/article/Music-Preparation-Guidelines-for-Orchestral-Music.pdf
>Orchestration (Rimsky-Korsakov)
http://www.northernsounds.com/forum/forumdisplay.php/77-Principles-of-Orchestration
>Sam Adler's Study of Orchestration, 3rd Ed.
http://www52.zippyshare.com/v/w473HFOA/file.html
>Orchestration Online Blog
http://orchestrationonline.com/
>Takadimi: A Beat - Oriented System of Rhythm Pedagogy
http://www.takadimi.net/documents/TakadimiArticle.pdf
>Teoria - Music Theory General Guides/Articles
https://www.teoria.com/index.php
>Musictheory.net - General music theory with accompanying exercises and tests. Great for practice.
https://www.musictheory.net/
>Succint theory up to contemporary techniques such as serialism et al.
http://learnmusictheory.net/
And feel free to expand!
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.
New challenge tomorrow
>>66020966
I'm done, managed to get it onto clyp.it:
https://clyp.it/tdzp1spd
Those double stops in the middle are really brutal, but the portamento was easier than expected. Going from sul pont to not sul pont and a double stop at the end felt rather clunky. The second inversion at the end I thought interesting and not necessarily bad compositionally, but P4s are the toughest intervals to get in tune on most stringed instruments including cello.
Can't bump for 2 hours
new fred hehe
>>66027638
25 posts early you dick
>>66027540
Don't b bully
kpg hwaiting
gfriend are ugly
twice can't sing
>>66026833
>positivity
What is the best song on this album and why is it Not The Sun?
II LOVE YOU JEEEESUS CHA-RIIIIIIIIIIST
>>66026698
>BE MY BAAAABE
other than that, thats a great track
best track is handcuffs though
>>66026728
Oh FUCK you, that part makes the song
