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
>>66028036
not the composer, but you're awesome for doing that.
are you able to hear chords? I mean, can you identify a chord or chord progression without much trouble? I play music for more than five years and still can't do it. is it normal?
YouTube stream guy here
Is everyone good with the stream being on Sunday, 6 PM, US Central time?
>>66029161
I can hear chords well. Anything diatonic is fairly easy for me, and anything non-diatonic or modulations, I can hear a good amount of the times. I only get thrown by stuff that is really weird. I am a jazz pianist, so learning to develop your ear is part of the learning process. If you've been playing music for more than 5 years, but haven't been trying to develop your harmonic ear through practice and exercise, it is normal for you to not have that ability.
https://clyp.it/bftev54z
Here's my answer to the modulation challenge
Is it worth expanding?
>>66029336
nice work. do you have any notation? By my ears, I feel like you're not modulating but I'm not super sure what's going on.
Some comments not related to the challenge in particular:
1. was the piano necessary in your instrumentation? It seems to sit out a lot, so I feel like it's just kind of weird to include it. Piano, harp, violin and cello could definitely be interesting if you were making the most out of each instrument.
2. You melody comes to a screeching halt at 0:06. It really sounds like it wants to hit that down beat and then it doesn't, not sure if that was intentional, but I really don't like it and it makes your melody less ""melodic""
3. Your melody that starts around 0:08 is better, I like the phrasing more. It's simple rhythmically, but I think it works better. However, I think it sits on some weird dissonances, and then just leaps off of them. It makes it sounds a little disconnected. Your use of leaps is generally weird, they happen a little too often so they lose their impact, and again make your melody less coherent. Around 0:19 to 0:21 your melody does feel all over the place
4. I don't get your accompaniment in the second section. It doesn't feel like it's strongly outlining a harmony or chord progression, so it feels a little aimless.
I think it's definitely worth revising and expanding on. Your first section I think just needs some tweaks, there is some strange dissonance and like I said I think the melody could be stronger. Your second section has a lot more I feel that needs fixing, but I like the overall idea of the melody and the accompaniment. I think if you had something to cement the constant moving quarter notes in the cello, like sustained harp chords, it would be a lot more coherent
How deep should i go into theory? At what point does the information become unnecessary?
I really want to make interesting compositions but I'm not trying to be Bach I just want to do it for the music.
>>66030207
learn enough until you feel like you're not writing the same thing over and over again. I'm not sure why people feel like if they learn to much it will be detrimental. I've definitely learn a bunch of musical techniques I will probably never apply to my compositions, it's not like they make me a worse composer.
>>66029267
Not the same guy, but how long does it take to get good at it? I mean I downloaded some ear training apps but it feels so slow.
I know I have to get my intervals right first then some harmonic stuff with 2 notes before getting into chords. What ends up happening is "this sounds happy, major third" which gets it right sometimes, but it feels like guessing at others. Maybe I have to actually identify the notes, but I can't hear more than one for the life of me. Although I can imagine 2 notes in my head but when I hear it, it blends and wtf ensues (>tfw). :(
Not only that, usually, I would guess for this sort of thing to be applicable, you would have to deal with things in songs that are not in the apps, like other instruments and maybe wierd rythms.
Any recommendations?
>>66028475
I'm kind of hoping to make recording each others' parts something people do on /comp/. Interacting with performers and hearing your work performed is vital in learning to compose, but not really available out of universities.
To be honest though I kind of had to do it after hearing the midi portamento
>>66030475
So I personally never hear all the notes. I hear the function of the chords in relation to the tonic chord. let's say I hear a chord, and think "it sounds like the subdominant chord, it's minor, it's the ii chord. I hear a maj7 interval, it also has a 9th added". This is way faster than listening to individual notes. I never practiced this way, I'd say I've been playing jazz piano for like 4 years and it came to me naturally (about 4 years of classical piano experience prior to that). How I'd suggest practicing is first of all: get really confident identifying the tonic of any song or piece you're listening to. Pretty much everyone can do this, even non musicians, but it can take a little work to make sure you can do it at any point in the song. You don't even necessarily need to know what note. Just put your music on shuffle, skip half way through, and try to sing "DO" as fast as you can.
Also try practicing hearing the relationship other chords have to do. Everyone has a good understanding of what V -> I sounds like. What does IV -> I sound like? ii -> I? These are how you can quickly identify what chords are playing without knowing what notes are playing.
ALSO practice hearing root motion. In simple pop songs, you can figure out all the chords instantly just by hearing the intervals in the bass part, and asking yourself "does this chord sound diatonic? Yes, so because of theory I know it must be: X". Bass motion is really powerful. Sometimes I'll be lost for 3 chords, then hear V -> I. Then my brain can back pedal through the root motion, and know it was III -> VI -> II -> V -> I for example.
>>66030747
This is the right way to do it.
>>66030747
Okay, I guess I'll focus on hearing the bass then, but what about things like inversions?
>>66030900
Inversions are definitely the hardest part about hearing chords in my opinion (probably cause they are rare in jazz, so I don't have much experience with them), and I'm not going to lie, I'm not great about them. Best thing though is often if you screw up an inversion you'll instantly hear it. If you hear an E in the bass and play E minor, you will very quickly hear the m2nd or m9th you just created and go "oh, my bad, it's C first inversion". But depending on how obfuscated the voicing is, you can usually hear the quality of the chord if it's just triadic. 2nd inversion is pretty easy for me to identify though, because they sound like sus chords which I use a lot. If you don't play a chordal instrument, picking one up will also help a ton with just getting a more hands on understanding of the vocabulary
>>66031028
Thanks, I do own a cheap guitar which I can use for that, but the reason I asked is I'm interested in learning bass, and it wouldn't be unreasonable for someone like a piano player not play the root at the bottom if they are playing with a bass.
>>66028036
That really made my day, week, month and a large part of my year. Thanks for recording this.
>>66031231
Oh for sure! I wouldn't call that an inversion in that case, just a rootless voicing. And that's when it's important to be able to hear the function of chords, and how each chord relates back to the tonic, because you will still feel that "tug" regardless of how the chord is voiced
>>66031315
Do these functions sound different in different progressions? Not really strong on theory, but like if I started practicing with just ii - I, iii - I, IV - I, etc, would it be easier to say, identify a chord between other chords in a progression, or would something like a V be more difficult to figure out when its not followed by I or have a ii before it?
>>66031231
Just expanding on what has been said here: bass movement is so strong it can define the function of a chord. IV - V - I is so innate that when the bass moves like that, 4-5-1, one hears "predominant, dominant, tonic". This is why ii6 is so much stronger than ii, why the Neapolitan chord is most often in first inversion, etc. Even while the chords are different the functional harmony is defined by the bass.
>>66031565
if you combine learning how chords relate to I with the ability to know where I is, you should "technically" be able to identify any chord (even if it isn't followed by I, you can imagine I in your head, like how if you're a beginner to intervals, you can sing all the steps up to an interval). But really, once you start to hear these better, a vi will always sound like a vi no matter what is before or after it, unless there's a modulation/tonicization/dual function going on, but that's where your other ear training tools will kick in, like root motion or listening for common tones.
The easiest chord to start to feel this sensation with is the V chord. It has TI and RE in it, so you're always going to anticipate that resolution to the I chord, even if it isn't followed by the I chord.
There are other things that you can also pick up. As I said, I think pretty much anyone can always identify the tonic, and with some work it's easy to always identify the dominant. If you hear another major chord, and it's no the tonic or the dominant, but doesn't feel non-diatonic, bam you've got the IV. It seems like a lot of mental gymnastics, but using theory to deduce chords starts to come naturally and you start to be able to do it really quickly. "Okay, we're at a V chord, and it kind of felt like it went to I, but it's a minor chord, but it's diatonic, so it's probably the vi chord."
>>66028034
reposting my entry from the last thread with a few minor modifications, see the marks in the sheet. I tried it today on an organ, it works, fingerings are not impossible, but it will still take me about a week to learn it.
https://clyp.it/fs1ggjse
Maybe - when I find the energy - I could make a little suite, with this one as Prelude, then a Toccata, a Sarabande, a Gigue, a Passacaglia or Folia and a Fugue (ugh). Megalomania all the way. But for now, I'll leave it at the Prelude.
>>66033604
forgot score... also, it's a bit too long and the first modulation only comes after 8 bars.
>>66030665
Seconding this.
>>66029236
yes!
>>66034999
checked
Complete beginner here. Taking intro to music this fall if I can get financial aid.
I wrote a piece for guitar, euphonium, and cello, I can play the guitar part. How would I go about acquiring a cellist and euph player at my Uni? do I just go to the arts section and put up paper signs with my email attached?
I guess I want to form a small group. All help appreciated. Guitar is classical, will be buying a classical nylon stringed solid body Kremona this fall if I have the money or else its just an old Epiphone beginners acoustic with brass strings.
>>66035311
Best way is to make friends. Ask them if they know people, way better than just putting up signs (unless it's an urgent thing).
>>66013761
https://clyp.it/qedli3b3
I realized that I just had some tonality issues I had to fix in my thing. I think its better now. Don't know what the fuck my ear was hearing before; have no idea how I didn't realize how out of scale and messed up some parts were. Am I going tone deaf?
>>66035685
way better. Sometimes you just miss shit as you write, because you are used to how it sounds. Writing stuff down helps, if you're not doing it.
>>66035685
>tonality issues
Sounds more like you started out planning to write the exposition to a fugue, since the voice that sounds so out of whack, the second voice that comes in, comes in by doing the same starting motif as the first voice but in the dominant key.
>>66035685
If you orchestrated this it would sound like Uematsu so much
What the fuck, how do you write a piano accompaniment at a leisurely tempo? Everything I try to do for this melody is utter shit
>>66036181
what tempo and time sig
>>66035390
No not urgent. I'll try to make friends but it would bother me to try to be friends with people for the sake of using them. So I'll just make new connections and feel the webs for potential players.
Thank you!
Once I finish the composition I'll just export it as a .wav, thankfully enough musescore simulates what it would sound like as best as it can.
>>66036181
Just write in common time and use half notes as the basis for your melody, go up and down the scales and throw in some variations.
Classical has a lot of ebb and flow so you can really slow down stuff like this:
https://www.youtube.com/watch?v=4Tr0otuiQuU
three notes as the base. Sorry if this isn't too helpful.
>>66036181
what melody.
>>66036030
I wanted to do that but I decided it wasn't worth the effort. I was bored and wanted it to see if I can whip up something quick. Also honestly I don't know If I have the balls to do a fugue man. I really have to sit down and learn how that works. I'm sure I can do it though. I just need some patience and to set down some time in a day to really learn the rules and stuff.
>>66036094
Thanks friend. Uematsu was one of my greatest inspirations to get into music along with guys like Koji Kondo. Aside from Japanese guys though, I think I have more influence from progressive rock (zappa, gentle giant) and genres like that. I only learned the harmonic minor scale after I listened to Yngwie Malmsteen blend that shit with metal.
new composer here, what do you guys think of this
https://clyp.it/0b4zyuz4
obviously just a rough draft but i think i have something ok to start working on
>>66036758
lol sounds like a fanfare
seems like you're just playing triads up and down the keyboard. thats definitely a reason the mood seems to flip flop from each chord change but ill leave that to someone whos better at theory to explain why exactly.
>>66036269
>friends with people for the sake of using them
genuinely feel this too, but it's necessary to an extent. You're only a douchebag if you're manipulative or nice ONLY for that sake. If they're good people, and you're all learning from each other, it's win win.
>>66036758
Pretty nice. I could imagine it being used for when you gain a level or open a chest in a game or something.
This sound okay?
It's just a simple loop nothing special, senpai.
https://clyp.it/levtvzce
>>66037008
Sounds fine, desu.
>>66037008
It works. Head over to /prod/ so they can give you advice on making it have punch. With electronic music the most important thing is for it to have punch. Since people can just get a drum loop and put a sample on it and call it a song and apparently it passes for some reason
>>66036269
Sorry, I meant sort of moderato rather than adagio
>>66036233
>>66036279
In 6/8, tempo is dotted quarter = 60
Here's a midi of it
https://clyp.it/s1op2npe
And a recording of an earlier draft
https://clyp.it/retirvpv
I think the problem is that I inadvertently wrote the most accompaniment-dependent melody possible.
>>66037008
definitely fine compositionally, works great in the style, I would say when the opening motif comes in at the end of the loop at 0:05 it's too similar to what we're about to hear, so it makes it sound weird and lessens the impact of that high point at the start of the melody. I would change some of those notes, maybe move them lower, or change the shape, so it's not exactly the same as the beginning of the melody
how do i know what notes to tie together when writing for piano? i usually think of what it would sound like being played on a wind instrument and then tie it according to that. does that work?
>>66036758
that's cute
>>66037611
Do you mean slur together? You tie together notes when you want a longer note, but you split it into smaller note values for easier reading.
>keep trying to write a euph solo part because autism
>keep failing to make it sound good yet not generic
>keep on realizing that making music my major as a poor person on financial aid was the biggest mistake of my life
"Composition was a mistake" - Ludvig Strauss McBeetleJuice
I have to post the smug anime girl before someone else does. Now I can die peacefully.
>>66037346
I hear romantic or baroque style. And for me a 6/8 is really rhythmic. I'll try to do something and see if you like it.
>>66037711
yes i mean slur shit sorry about that.
>>66037611
yes, think in phrases. Maybe instead of a wind instrument, you could just think of a singing voice.
Just switched to musescroe instead of Sibelius. Fuck how is this free program already easier and more efficient to use. Also whoever made that intro score thing was based. That shit was so informative.
>>66037769
I'm about to do this, should I turn back?
virtuisio with tendonosis is suffering
>>66039405
dude, your stuff is gonna sound generic at first. that's how everyone starts out
here's a piece I made in 2012, for someone who lost a dear friend, had to be viola + cello, and I knew nothing about string instruments back then.
I tried to go for a touch of Borodin, fwiw
https://clyp.it/3oygxi5v
>>66039691
I know, I know. But you have to suck before you get good right? In my experience if you do something all day you wake up the next noticeably better, though sheet music doesn't have the immediate satisfaction of playing music by hand
I have stopped smoking weed and sworn off relationships to prepare for this
>>66039405
Yeah I'm just kicking myself a bit, but basically its a lot of hard work. Here are the tiers of music majors from what I've seen:
>the meme
Normal kid with a nice safety net from mom and dad, thinks music is his/her passion, the furthest they've gone is The Beatles or something similar, or some obscure indie pop recommended to them by a Spotify Playlist Faggot
>the asian
not actually asian of course, its a metaphor for someone who works extremely hard to become a decent musician or composer, or producer, etc etc. basically dem japs and chinks will drive their kids to the edge, but in music majors this reflects in the somewhat quiet yet mature looking types
>the norman
music major, knows some of his stuff, doesn't really care about much, might get an internship in some random studio
>the robot
Sits in the back with his laptop emulating SNES games during class, typically unironically posts about how other people have shit taste on /mu/, /r9k/ and /a/, might be a decent person when you get down to it or work hard but too lazy
>>66040051
Download musescore. Listen to what it might sound like. Also, patience. Biggest thing. Jesus I was an impatient prick. I was so impatient I refused to take classical guitar lessons and didn't learn how to read sheet music until 19 years old, I was just constantly using tab. I learned bachs first cello suite tab only, by ear, wrote it myself, for my acoustic.
Now I'm learning the proper way. So patience, hard work, dedication, and fucking around in MuseScore during the day, its really helpful and easy to use.
>>66040106
not him but
>am every single one of these
Can anyone tell me how to make this more fluid? I feel like the sustained note after those trills don't lead well into the next section. Ignore idea 2 btw.
https://clyp.it/y0uistge
>>66040005
Beautiful desu. Maybe cellobro could record your parts.
have any of you tried writing lyrics by randomizing different sentences and putting them together? I have heard it has been done before with success
>>66040251
thanks, actually it has been recorded, but I don't have that CD with me I think.
As for your piece, I assume the long whole notes feel to static to you - maybe have one of the middle voice do a litte movement, like in bar 8, have the clarinet go
g'2 ~ g'8 f'4. | g'2 ~ g'8 aes' g' f' |
and in bar 10, maybe have the oboe start the scale on beat 3, like
g''2 e'16 f' g' a' bes' c'' d'' e''
if you go ahead and paste those notes into lilybin.com (replace the c' there), you'll get to see actual notes
>>66040106
>>66040106
Was it hard to get your stuff played? Like by the school's orchestra. And I met a lot of those robot types lol why even go to school?
>composing with cameramouse and feet
>musescore skips to next page while placing notes
>10 seconds to drag back
>keeps doing it
STOP
>also, having to type fugging 15wpm
>>66040763
>getting things played by my school orchestra
In my DREAMS m8. My school orchestra travels the world. Not even the lesser orchestra, the Sinfonia would play one of my works unless I was a fourth year with highest marks and the blessing of the conductors/graduate professors.
Well I'm going to school because I would hate working a wagecuck job 9-5 at walmart I've done carpenters helper stuff before and I hated it. 60 hrs a week kills you lifting heavy shit and dealing with co workers.
Anyway, just use the arrow keys to navigate left and right, dont always stay in note editing mode, makes it easier to move around.
in all seriousness I'll give them some of my work when I'm a bit better. Right now I'm writing mediocre pieces for fun. Pic related. I write in the fortissimos and other fancy shit later on when I hear what it sounds like properly.
Pic related. Just random shit. The more serious work I save, all the scraps I save, even if I hate them so I can use them as reference or remind myself of how I've improved.
>>66037346
Bruh, now I know what you meant by
>Everything I try to do for this melody is utter shit
Precisely because the melody wasn't made upon a rhythm and it changes constantly, "bypassing the 6/8 time signature". [spoiler]Pretty exciting desu[/spoiler]
https://clyp.it/frotsks4
>>66040999
Checked.
Also, let me rephrase that.
It's not bypassing the 6/8 or something, it just has a lot of syncopated and off-beat notes. It's pretty hard to work on comping something that is changing constantly, but it can be done, of course.
i posted this last time but i'm still curious what my level of competency is because finding honest critique is hard.
i cant read music, i just improv.
http://picosong.com/hwJ3/
is there anything here worth pursuing, or should i not bother.
>>66041187
the beginning is minimal music in D dorian, then comes something pentatonic, then minimal music again... if you expand each part and don't switch between styles so much, it'll work.
>>66041187
Yes, being able to improvise like that is worth a lot.
>>66041223
i keep shelving little intros like this telling myself i'll expand them later but i never do. i stop as soon as it stops being fun and starts to feel like work. i have a terrible work ethic for most things in general.
>>66041187
ah I love dorian fantastic. the last thing reminded m of chrono trigger.
make them into full songs. should be a lot of fun. you already have the framework
>>66041657
fuck what am I saying lol I meant the 3rd thing reminds me of chrono trigger.
>>66040595
Ended up doing this. Thoughts?
>>66041187
I can read music but not well because guitar was my first instrument and I was a metalhead for a while. Went into jazz, then classical and fell in love with composing. I'm almost the same way. I can really only improv.
Your playing is amazing by the way, learn to read music and you could write some great music. I think you should take up film/game scoring.
>>66041187
>i can't read music, i just improv
>that
Not pursuing music further would be a crime.
>the segment starting at 3:30
Honestly the fact that that's improv kind of pisses me off, considering all the weeks of thought I put into the harmonies of pieces of similar length to produce stuff that doesn't compare
There was an instance of slightly iffy voice leading there but it was like a rough in the diamond or whatever you might call that
>>66041711
well, it has more rhythmic motion now. But are you sure you want to have parallel 8ths on the last half beat of the first bar, and have small 2nds between a and a flat in the 3rd bar?
>>66041796
here, yellow marks for parallels and dissonances, and I think that low B flat is outside the range of a bassoon (not sure)
>>66041796
>But are you sure you want to have parallel 8ths on the last half beat of the first bar, and have small 2nds between a and a flat in the 3rd bar?
Thanks for pointing that out. I don't see any other option for the sound I want with the parallel 8ths but the m2 needs to go. I'll try to change the parallel 8.
>>66040999
>>66041117
Thanks so much!
It's for the challenge, and not much point in not composing the entire thing myself. But it gives me ideas where previously I had only writer's block
>>66041859
>parallel8
why not a d or an f for the clarinet?
>>66041730
>>66041657
>>66041711
well shit i'll have to get started then. i honestly didn't think i was at a level acceptable to these threads so i never posted anything and just lurked. how did you all get started with learning notation?
>>66042140
I learned literally everything on the internet. Pretty much just looked everything up on Wikipedia. Probably why I'm shit now. I'd recommend you follow the links in the OP and post your progress in these threads. Gotta say I envy your ear.
>>66042140
My first piano teacher gave me some sheets of Beethoven's Piano Sonata 14 first movement and I started from there. Well, he was a shit teacher but at least gave me something for starters. I'm currently studying in an academy, but sometimes my depression gets the best of me.
>>66041863
Here's a polished version of the piano part, just to make it more clear.
https://clyp.it/jxcclnmh
>>66042140
>how did you all get started with learning notation?
Piano lessons at age 8. I dropped out of notation around age 13 when I started learning guitar. Switch to tabs until I decided to study music at university at age 24
I just finished working on what I think is a pretty cool section of a song. But I don't really know where to go from here. I've tried writing multiple different parts to follow it but nothing is really sticking. Any tips?
>>66041353
>i stop as soon as it stops being fun and starts to feel like work
You'll need to work on that. Composition takes a lot of hard work. You literally have to force yourself to work at it if you want to produce anything of value. Its 1% inspiration and 99% perspiration.
Just think that the enjoyment will come later, when you listen back to the amazing piece you spend hours and hours creating. Then you can listen back to it any time you like, even years later. If you spent enough time on it and worked hard, you will always enjoy listening to it, and so will others.
>>66042559
Post a clyp.t or vocaroo
>>66042681
http://vocaroo.com/i/s039evzmMS4a
sorry for the shit quality. music starts at 0:25
>>66042868
go for e flat minor, then g minor, alternate for a while, then brigde over using F maj, and your back to g min.
>>66042559
Fug, that's pretty rad. What genre is that? What are you aiming for? Depending on that you could make it louder or chillier.
>>66042559
Shit, I can't get enough of this.
https://sunbody.bandcamp.com/track/lamb
here's a sort of minimalistic jazz-ish song i wrote and recorded for my band. would love some critique
>>66042979
ive been trying some stuff kind of like this and i really like it, thanks for the tips!
>>66042992
more slowcore-ish or post rock idk. think i want it to be chiller there, but i definitely could see how making it louder could work too as that has crossed my mind for sure.
>>66042868
Try Fm - Bb - C - Gm. Also try to fix those vocal harmonies. Otherwise that's some cool as shit. Reminds me of White-Light-era Swans
>>66042868
Sounds like Swans
>>66029236
yeah
>>66042282
Just realized how high in range it is compared to all my attempts so far. That really was the obvious answer, but I couldn't figure out how to either treat the cello part like the bass line or lack a bass line.
>>66042282
Uh, could I trouble you to post it to vocaroo so I can listen to it on mobile? If it's not too inconvenient
>>66043951
I figured a low range could sound condensed with the cello, so I wrote both hands in the G clef and the right one is always an octave or two above C4.
>>66044156
No problem m8
http://vocaroo.com/i/s1xDKJH2t22n
>>66044233
Thanks again.
Anyone here has worked on latin percussion? I just need to see reference material to how you should write parts for those.
>>66043230
>>66042979
thanks for your assistance guys
I ended up going with Fm - Bb - C/Em(I think this is the chord anyways) - C
Will work on the vocals for it tomorrow its getting late obviously. but yes thanks for the help!
>>66045023
Glad I could help man. Post your progress in the next thread, your song is very interesting.
not sure if this is the right place, I wrote down this piece by ear, and would like to ask anyone interested to double check the melody and chords (too lazy to write down piano notes, but I'll add text notes describing the accompaignment patterns)
https://www.youtube.com/watch?v=ENynlzJyaYw
nevermind it being German, also, the guy is varying the rhythm ad lib, so I chose to stick to 8th notes.
feeling bored, so gonna post this improvisation.
https://clyp.it/25duj53v
>>66046326
you like maj7 and m7 a lot.
gj on the improv.
I can never escape... the fugue. A new one begins
https://clyp.it/jmsebgo1
The last finished one: (I'm part way through scoring it out so y'all niggas can see what they look like on score and spot the potential counterpoint errors)
https://soundcloud.com/psllbof/fugue-in-c-minor-organ
Fratres not related but has some scordatura for those from a few threads ago
>>66040995
>In my DREAMS m8. My school orchestra travels the world. Not even the lesser orchestra, the Sinfonia would play one of my works unless I was a fourth year with highest marks and the blessing of the conductors/graduate professors.
Sounds like a bad composition program desu.
>>66046534
Hey poly i called your fugues shit in /classical/ because of memes but this one is pretty cool. Keep at it dude
>>66046689
Thanks, after 10 or 11 months of writing fugues you'd hope I would have improved! I dont even know if they're good or not, I just can't write anything else! pretty much obsessed. Hopefully it passes someday so I can finish my symphony...
>>66046743
keep at it! After 2 years of organ lessons I'm supposed to be able to improvise Fughettas on the fly for choral preludes. Well, I suck at it big time, even there is a clear recipe.
Best tip is not to overdo stuff, so you can keep up with the development, I guess.
>>66040251
>https://clyp.it/y0uistge
Cute ideas, I like how fragmented the melody is.
I actually think this piece could do with a touch less fluidity. I think when you hit bar 8, you could really do with letting the bassoon rest for once, let the piece come to a place of relative rest and breath a bit, and then pick up the pace into your next idea. So I'd keep the three upper parts just as they are and change the bassoon part to this.
But my dude, what on earth is happening in bar 11? You have a Db in some parts but not your clarinet, you've got the major 3rd and the minor 3rd concurrent, and on beat three you leap into the minor 6th of a major chord (which can be cool, but not the way you handled it here)
>>66046799
Oh you play organ? bad ass. I'm surprised improvising fugal forms is still part of organ lessons, I thought that kind of thing died out. Very cool to hear.
>>66041187
you have a decent understanding of music; some of these clips have rough patches, some are all around goo, but it is hard to tell you how good you are with just unrelated undeveloped fragments. You should really try and sit down and write a melody and harmony, you don't need to write it down. Just improvise something, but don't instantly forget what it was, take note of the melody and refine it. Work towards another section, make it contrast for emphasis, or something. Just try to get a full piece together.
The only real critique I have is often it seems like your melody is derived from easy-to-improvise on scales rather than what your left hand is playing.
>>66046905
Well, it's an apprenticeship for church musicians with the RC church, and supposedly we should become able to improvise all kinds of forms from Rondos, Biciniums, pop intros, concerto, clustery and also fughettas, not strict fugues.
As in, take the dux, start in the tenor voice, lead it downwards, start with the comes in alto, then dux in Soprano, comes in pedal, then some desc. 5th sequence, [optionally more dux/comes stuff], and then some sorta coda.
But as I said, I'd rather take my time and write that down, because I'm too lazy to practice the recipe (or I'd rather want to practice real pieces)
>>66046890
>But my dude, what on earth is happening in bar 11? You have a Db in some parts but not your clarinet, you've got the major 3rd and the minor 3rd concurrent, and on beat three you leap into the minor 6th of a major chord (which can be cool, but not the way you handled it here)
I have no idea desu. My Yamaha P-45 is out for repair so my writing has just consisted of moving notes around in sibelius and using my ear for the past week. I think measure 11 sounds odd too but I don't know what to do with it.
>>66046890
https://www.youtube.com/watch?v=-fO8j42pvSU
Forgot to add that I was going for this kind of sound in the bassoon. There is a section for the bassoon to breathe later in the piece that I haven't written yet, most likely the next section
>>66047033
haha, fagotti.
Ok seriously, what you're aiming for is a constant staccato of 8th, but you can also do it in a complementary way by alternating the staccato 8th notes between instruments and purposely add single 8th rests here and there.
>>66043191
I think your guitar player is the main reason this is ineffective. If that's you, it's because your playing feels so unfocussed. I know that it's this slow feel and you don't necessarily need to be in time, but your rhythm is so out. Even when we hit the big chord, which is a nice moment, it's pretty much instantly ruined by the extra strumming out of time. I think what we've got here is one good moment with that big chord that you need to find a better way to reach it. Stop noodling on your melody. Figure out what your melody is, and play it in a way that it sticks. It really does feel like you're just warming up. Play with your drummer. Here's a drum part that is playing even less than yours is https://www.youtube.com/watch?v=SQTk4RLbbXQ Listen to how good it sounds because of how the keys and bass player are playing in and around the beat, and really locking in. When you get to that big chord SIT ON IT, don't instantly noodle around with it, it sounds good, it's a good moment, let it be experienced. The piece is minimal, your climax can be too.
>>66046996
it seems like you want to go to Db for a bit, so do it. Think what notes would agree with Db, not E natural, flatten your Es. Not D natural, flatten it. You can use a "chord scale" like Db lydian, Db Eb F G Ab Bb C to help choose your notes. And then in beat 3 you go to C, so go to C, don't play an Ab unless you mean it (harmonic major is amazing)
Also if you listen to proko-chan, the lowest part DOES take a super short break at around 0:16, and it helps make the form make more sense, and that's what I want you to do.
>>66046326
how do i learn to play deliciously like this?
also, good shit. if you do more share it for sure.
>>66047218
>>66046890
I thought the rests in the bassoon sounded shitty first but I came to like it better than straight 8ths. I changed measure 11 too, hopefully it's not shit anymore. Sorry for shitting the thread up with my music
https://clyp.it/1uqq2hp4
I have a very specific request. If you look at the bass of pic related i have an E, an A, a D and i need another note for the 4th part, but i'm very undecided. any help please?
>>66047622
yeah I really like that. You've still got the same issues in bar 10 that you had in bar 11, so I'd take a look at that too, but I'm liking where this is going. keep posting this as you work on it.
>>66047775
If you have to double something, do it in this order:
>Most Preferable
Double the root
Double the fifth
Double the Third
>Least Preferable
Dont double the 7th or leading note.
>>66047806
Sorry but I have a very poor knowledge of music theory, what do you mean with "double something"?
>>66047885
Double means two. If you double a note that means there is two of that note (or more). He is basically saying don't have more than one of the 7
>>66027921
>/mu/
>music composition
I'm gonna take a guess and say there's gonna be a lot of paralell 5ths and general nonsense.
>>66047622
I think it's an issue that the bassoon only plays low staccato notes. They get very boring, very fast, so I'd try to mix it up with some longer legato lines.
Remember that at the start of the piece, there should be something to it that calls attention to itself, to grab the listener. A bassoon in the absolute safest register playing the most straightforward rhythmic figure possible might not be the thing that would achieve that the most.
>>66047775
B.
The reason is: it's a repeating figure. There are two note that commonly voice lead well into the minor tonic: the 7th note (either the D or the D#) or the dominant, B. You've already used the D, so you go for B.
>>66047806
I think you misunderstood his question.
>>66047885
Shit sorry I thought you were meaning in your harmony. I see now you mean you need a nother bass note, in the space after the first 3 bass notes. Just try different notes and see what sounds good. You could also try B like other anon said.
>>66048013
Which btw would imply some sort of B minor chord, so you'd get Em Am D Bm.
I see you're using a D# in the melody in bar 4, which could imply a B major chord. If you want, you could use the B instead of the Bm with the D# in the bass, giving the bass notes E-A-D-D# under the progression of Em Am D B.
Another option again is to keep the E-A-D-D# in the bass and this time use a D#mb5 instead of a B major. It would be a different flavor of a B7. Just to give you some possibilities.
>>66048013
>>66048184
Wow thank you, i didn't think about some of those things. The D# in the bass sounds good but it's not the atmosphere i wanted.
>>66048083
it's ok, my question wasn't very well expressed
Anyway in the last bar i'm gonna put a B, it sounds the best. In the second i was thinking that a G sounds better than a B
>>66047283
i don't know how to explain it, but i tend to use a lot of 7 and 9 chords, especially major and minor like the previous anon mentioned.
Here's another improvisation. I posted it here before.
https://clyp.it/dqchpj1k
>>66047806
Exactly the technique I was taught for walking bass.
>>66048544
yeah its still good advice for harmony, even if it wasn't really related to anons question
>>66048600
Oh I do beg your pardon I thought you were referring to melodic repetition, didn't read the question properly, whoops.
>>66047775
I think I'd go for either F# or B
>>66045077
havent fixed the vocals yet but here's the part i came up with in succession to the previous part i posted.
how does this sound?
http://vocaroo.com/i/s0sSglfwBbc3
>>66041187
As someone that can neither write, play or make music this sounds fantastic.
>tfw want to write a final fantasy inspired piano song but am too lazy to even open the lid of the piano
>>66050951
No sympathy for you desu
How do you shorten an already short piece? Going over the 1 min limit here.
I want to learn how to play piano but I'm a complete beginner and i get told that it's easy to develop bad habits. How do you practice piano and get better at it properly? I just want to be able to do improv for fun.
>>66051782
Segments don't need to be 8 bars long, 8 bars long, 8 bars long etc. sometimes, a 6 bar long segment can be really exiting. Cut out unecessary repetition too.
>>66046970
>easy-to-improvise on scales rather than what your left hand is playing.
pretty much yea, my left hand is fucking useless. i'm going to start learning some bach to improve it though. right now its obnoxiously uncoorperative.
is there any good blues for orchestra?
>>66051796
start improvising then. start with simple scales and basic chords. try turning on a fan and improvising a right hand melody to the drone it makes.
>>66051796
Get a teacher if you're worrying about bad habits.
>>66051782
400BPM
>>66053738
Actually considering speeding it up, since dotted quarter = 60 is turning out oddly slow and waltzy.
Any change and it completely changes my carefully-graphed timeline on graph paper wherein each ledger is two measures (four seconds), though
>>66051814
Ah, thanks.
Also, how do you force a motif into a meter it doesn't want to be in? Inadvertantly went into 5/8 for a few measures while improvise-composing the rest of the melody and it's getting difficult to work with. Alternatively, how can I make a sudden diversion into a different meter less jarring?
>>66054098
Try to put long notes on beat, and fill the whole beat. I'm assuming you're 6/8 anon, so when you feel you're getting too much "off-beat", end the phrase in 6 with a quaver and continue on beat at 1 in the next measure.
Hey guys, hoping to get some opinions on this theme and variations I've been working on. Appreciate any and all feedback!
https://clyp.it/xqjpowuf
>>66055784
>tfw this reminded me of Mikrokosmos and Corea's Children Songs
Nice.
I liked the rhythm variations in the right hand, and I think the left hand is fine but it wouldn't hurt adding more difficulty in the later parts as to not make it too monotone and to give it a heavier reason. Other than that it sounds great and something I'd like to play.
bump, where's this week's challenge? What about having a condition for rhythm, like a continuous complementary pattern - or constraints on accompaignment (think ostinatos, or cluster of 4+ notes without doubling, or something jazzy etc.), or form, like a Rondo form ABACADA?
Otherwise, a free bump.
Someone suggested for the challenge to be a theme which we'd all write variations on.
>>66057375
I'm working on the weekly challenge, it's going to be a theme and we're going to make variations and I'm going to stitch them together. I've noted yours for next week though.
>>66057457
Are you writing the theme?
>>66057520
i had a poll that only two people answered and I'm transcribing ITAOTS. I think it will be fun.
>>66057626
>ITAOTS (had to google it)
eek, modern popular music... that's gonna be challenging for me, but I'm happy to take it on. Can't stay in the cocoon of classical snobism forever.
>>66057695
You can still take it into a total classical direction. All I'm going to put up is the melody and you can do whatever you want with it.
>>66057695
Also, what instrumentation should I make the challenge. I want to keep it constant so I can stitch everyone's responses together coherently. I was thinking piano + violin.
>>66057626
>there was a poll
Also,
>ITAOTS
Good luck with that. Tried transcribing just the first bit of the melody for a fugue subject a while back. I ended up giving up, the melody doesn't fit into any rhythm I can notate. Every note is slightly askew just a bit.
music theory is a shitty meme 2bh
>>66057775
true, but as I said, I've gotten remarks coming my way that I'm thinking like a ivory-tower sitting classically educated concert pianist, when I said some condescending stuff of the quality and importance of popular music during my organ lessons, so I'm determined to educate myself more.
>>66057874
I'd say most peeps don't know enough about the violin to be able to write real good music for it. I'd rather stick to a trio constellation (Flute/recorder + Oboe + Cello + optional continuo. Or in a modern context voice/lead guitar/synth + rhythm guitar + bass + optional keyboard chords)
>>66057975
>implying he doesn't know music theory
>>66057975
it's a ladder you have to climb in order to reach the top. Afterwards, you don't need it that badly, but it's still handy to have around.
>>66058026
he proved music theory is literally bullshit made up so that shitty schools can teach something and pretentious fags have to something to brag about
>>66058015
>don't know enough about the violin to write for it
>suggests woodwinds instead
>>66058060
>implying he doesn't use music theory
You do know what music theory is, right? It's the study of the possiblities in music, the form, pitch, rhythm
It's literally inescapable no matter what music you play.
Music theory will always be there, if only to comment on the difference between sound and silence, or the lack thereof
>>66058097
well, woodwinds have their own knacks about registers, but imo determining whether a melody should be all played on the same string or not is harder to tell.
>>66058060
Holy shit all this projecting
kys
>>66058130
>>66058259
>being this pretentious
cmon grow up
you could say this about literally ANY sound there is
like even the sound of your mom moaning when i fuck her is also subject to muh moosical theory
>>66058015
>I'd say most peeps don't know enough about the violin to be able to write real good music for it. I'd rather stick to a trio constellation (Flute/recorder + Oboe + Cello + optional continuo.
If you can't write for violin, you can't write for cello either. I agree with the other anon that it's easier to write for strings than woodwinds though. Still, all instruments, incl. piano, are difficult to write well for. If all else fails, let's all just write for some kind of freeware synth that everyone can download.
>>66058318
>he's never listened to musique concrete
>>66058318
just get out fag you have shit meme game
>>66056861
Hey thanks for the comments! I'll be done with it sometime this weekend. If you can record it and post it I'll gladly post the partiture.
>>66057944
I've simplified the rhythms, and yeah he is very loose. It's a stylistic thing, super common in pop style vocals.
>>66058323
I like the idea of Flute + Oboe + Cello since it's going to make you consider the theme beyond the context of the original
>>66058339
>>66058343
yeah then tell me you fags how does your musical theory apply to this
https://www.youtube.com/watch?v=AguPH0XBxdw
>protip: you cant
>>66058323
well, I admittedly have some woodwinds background, so strings are more mysterical to me in comparison. Then again, a bass line in a cello should be far more easy than a melody on a violin? But then again, it's more about creating interesting voices, and instrumentation comes after that (most of the time, I hope)
>>66029161
When I am actually playing by ear and guessing I can usually get it right 90% of the time
If I didn't have one I have trouble recognizing everything that isn't a fifth or seventh
>>66058485
musical theory isn't applied to create garbage anon. Its applied to create music that categorically isn't garbage like what you just posted
>>66027921
https://www.youtube.com/watch?v=Xuiq5w1Scdo
>>66058485
Noise music? Simple (well, complex, but still describable via music theory)
I'm going to go ahead and define noise music as music based around the distortion and disturbance of a communication signal
So let's go back in history and say John Cage's 4'33 was the beginning of noise music. It lacked coherent structure and have us an open-ended view of music
Merzbow's style of noise music is intentionally harsh, it seems to me. Instead of creating ambient landscapes, he gives us jarring highs and lows. Screeching pitches and low, growling basses seem to abound here, all heavily distorted.
The songs blend together, as if the album was not a collection of songs at all, but a piece of it's own. This seems to exemplify the open-ended nature of noise music
>>66058475
>I like the idea of Flute + Oboe + Cello since it's going to make you consider the theme beyond the context of the original
I don't think it's necessary to make this more complicated than it needs to be. The instrumentation you're suggesting is non-standard and not necessarily an inherently good one.
The theme and variation is the core of the challenge, and what made the previous one great was that you only had to focus on one thing and apply your creativity to that, with a lot of freedom in how to solve it. I'd suggest the same here. Will this instrumentation make the challenge more fun, or will it just bog it down? It's usually more beneficial when practicing composition to do studies of one aspect at a time. Making short pieces where you intensely try to figure out or experiment with e.g. an instrumentation, a certain kind of harmonic language, a certain kind of arrangement or maybe simply writing melodies. I think that small-scale approach is something that should be continued in these challenges. It puts the bar of participation lower ...at least that was my rationale for the first challenge.
>>66058561
>Then again, a bass line in a cello should be far more easy than a melody on a violin?
Not really. Both things will not sound better than the amount of effort you put into it - a "simple bassline" isn't necessarily something inherently interesting, and doesn't really utilize the capabilities of the cello. It should be unecessary for both the listener and the performer that you write a bassline like the one in Pachelbel's canon for example.
So I suggest 1) a single instrument like piano, organ etc. where there's not a lot of quirks to understand before you write, or simply synths... or 2) a traditional instrumentation like a string quartet that is tried and tested and works well because of the homogeneity of the sound and the inherent coherency such music would get. There's no need to reinvent the wheel.
>>66058485
Heard sequences, the reappearances of old motifs, that sort of stuff, a repeating figure being made into the accompaniment for what can be described as a melody, etc. I can point them out if you want.
>>66058858
yeah show me
tokyo times ten doesn't count cause that's not melody
>>66058485
Music theory is not rules, it's simply a language that allows musicians to explain stuff to eachother. This should be prefaced in the OP.
>>66058839
I was just thinking Telemann Trio Sonatas for that kind of ensemble (https://www.youtube.com/watch?v=RdtIMaGztEw), but string quartett, SATB or organ/piano/synths work just as well.
>>66058951
SATB is also good desu
>>66058902
melody: a series of single notes pleasing to the era
How is that not melody?
Also, pic is from his Wiki page
Not to mention that rhythmic bass that starts about 32:10. The one that goes do-do-do-DO
>>66059071
that's tokyo times ten you fucking retard
kill yourself
THE /comp/ COMPOSITION CHALLENGE #2 VARIATIONS July 1st - July 7th
Compose a section in a theme and variations based on the opening theme of In the Aeroplane Over The Sea. Keep your section to around the same length as the original (50 or so seconds).
Instrumentation: Violin + Piano
Instrumentation is constant so that at the end, I can stitch this together into a single piece.
To make this easier on me, please email me the midi when you're done [email protected] and I'll be producing it. If you can't give me midi because you only handwrite your music on egyptian parchment, email me the sheet music just incase i miss it itt
Please try to stick to starting and ending in G major (not necessarily the chord, but the key for sure)
POST theme and variations you like. post ideas for directions to take (don't feel compelled to write in any specific style). Post WIPs.
MIDI if you're lazy: http://s000.tinyupload.com/?file_id=01675490908115586209
>>66059112
What's you're point? That song,. Tokyo Times Ten, shows elements of melody and a rhythmic structure
>>66059122
It'll succ balls but I'll do it cuz yay music
>>66059122
wanna add the original chords onto that melody as chord names as a reference? Might help make more consistent variations, and make it easier to go for alternate chords
>>66059228
Sure, I thought I wouldn't put the chords because I didn't want to guide people in any real direction, but I'll put them up.
>>66059228
>>66059345
>>66059433
thanks.
Kust out of curiosity, how would you go about simulating stuff like an instruction to play a melody on the G string, or play a harmonic on the violin?
>>66059775
*in the production that is
>>66058902
Here we go, a rough approximation of the first 4-5 seconds or so. Here you can see a motif begin the piece, followed by the bass going "wub-wub", basically, for four complete times. The second time the motif comes in it cuts the fifth wub off in the middle, and is held with a slight bit of rubato before letting the bass come back. It's a motif followed by a variation of that motif, so it's acting very similarly to a melody.
>>66059151
>>66059997
you're so full of shit
>>66059997
Hello, welcome to the internet. I understand you're new here, so I'll let you in on some piece of advice: Don't feed the trolls. I know it's tempting, but it doesn't work. Move on in life.
>>66060306
It's actually interesting though. I started doing it mostly out of spite but then I realized there's a lot of interesting details in this noise, it's actually kind of fun to overanalyze it.
>>66060062
Good point, I hadn't considered that.
Now, at about 27:50, after what seem to be horse noises, there's the entrance of an ostinato figure. It's a glissando that starts on C# and goes up approximately a major sixth (to around A#), and unusually it's quite high pitched. At around 27:57 the first contrasting motif appears, and it repeats four times, not an uncommon amount of time to repeat. Now, at 28:04 it starts developing into something crazy.
>>66060062
>>66060493
>that buildup to the ending of Ultra Marine Blues with no resolution
>the complete contrast between it and the start of Tokyo Times Ten
No one told me noise music could be this thought-out
>>66060493
Very interested in your analysis. PLease continue
Seems like lots of you like to post sheet music here. Can we get some playing?
>>66060987
don't have a piano or organ at hand at 1 am, sorry.
What I'm trying to do with my variation is introduce some jazz harmony into the piece, then add a motif on the violin. The violin then plays variations on the motif from ITAOTS (I inverted it, but I'll probably do a reversal and speed it up too) while the piano continues the new motif.
I need to shorten it so I can introduce the new motif and vary the melody more (with the aforementioned reversal). I didn't pay much attention to the harmony between the piano and the violin, I just tried to keep it only in fourths, thirds and fifths. I'll go over it more later, of course
https://clyp.it/pz342qdu
Anyone take a more rock-ist approach to writing songs? I.E, writing the song directly straight to muscle memory, without any sheet music or any form of written notation.
I feel like doing so gives the composer, and thus the only performer, more variance on his performance. Every single he play the piece he can add in a little extra detail, and it won't be "wrong".
I personally hate sheet music and commit everything to memory.
>>66060876
Can't be as indepth as that, unfortunately
That ostinato figure finally concludes at 29:12, cut off in the middle of the last reiteration (which seems to be a bit of a common theme here). It comes in again at 29:22, but elongated. And it only plays twice, the third time it plays is cut off before it finishes at 29:32. From there it changes gradually as this piece seems to tend to do, but there's a complete mood shift at 29:42, the most sudden shift in this piece. Now motives unlike what we've heard before are being introduced left and right, and this really sets off the motion towards the end.
>>66061386
Personally I take a Bach cello suite approach
As in I write things on sheet music but I don't dictate every little detail until it's completely finished, and instead I let myself memorize what techniques, slurs, etc. will be used in the end.
>>66058693
>>66058858
>>66059997
>>66060493
>>66061463
This is god-like
>>66061386
>>66061577
No way, I write everything down. I don't trust my brain to remember everything. When I write, I write stuff down as I come up with it.
>>66061730
Really I can't thank >>66058485 enough for posting that
>>66061907
Mostly that's just for stuff I plan to play myself.
>>66061972
>that melody that starts at at 20:10
>>66058053
>it's a ladder you have to climb in order to reach the top
only the top of your shitty pyramid [scheme] and not the top of this one
>>66062429
>free masonry
fuck off and read
>>66061730
by the way, I'm so fucking hooked on this album right now
>>66062429
All of type-v use very complex music theory
>>66062429
>not the top of this one
>sonorism, aleatoricism, new complexity
?
>>66062589
they go pretty far beyond music theory actually
only sonorism and xenharmonism don't abandon it completely
>>66062528
>static for 1:13:21
this description is just as correct and as helpful as all of >>66058693 >>66058858 >>66059997 >>66060493 >>66061463
>>66063141
>aleatoricism
>new complexity
>stochasticism
>indeterminacy
>generative electronics
>implying all these abandon music theory completly
Are you telling me John Cage didn't use music theory when writing his chance pieces? Iannis Xenakis didn't use music theory? Because something tells me that Imaginary Landscape No. 4 was a composed piece of music. See here:http://www.medienkunstnetz.de/works/imaginary-landscape-4/
>>66063353
Of course. Just as you can call any piece of music "Sound and/or silence"
You can call some pieces of music "A series of periods of sound and silence; rhythmic"
You can call others, some also rhythmic, "A series of differently pitched sounds; melody"
You can call still others, some both melodic and rhythmic, "A collection of pitched sounds sounding together; harmony"
And so on and so on
I'm about to fail my composition course. I'm willing to transfer $20 through PayPal to anyone who lets me present a composition of their own.
1. it won't be performed and I won't make money from it, just present it for class.
2. should be for a small ensemble e.g. no orquestras or marching bands, preferably woodwind quintet, string quartet or stuff like that
>>66058485
I thought these were sfx. This doesn't require theory because it's all noise created from static. Anybody can create static. Do you get it now? Also, this meme is shit, I'd rather have MACINTOSH PLUS was a better meme desu.
>>66063792
You could say it's organized static and sound effects.
>>66063967
see >>66063551
I agree with you on that statement, of course
>>66063648
more details about what's expected. Length, technical proficiency for the players, what you're expected to show the teacher in the way of harmony, rhythm etc., other specifications, as much as possible
>>66063648
what the fuck is the point of this post lmao
if you suck then better you quit now than later
take my organ prelude and say it's a string quartett. No charge. Cheers.
>>66033658
>>66033604
source: https://www.dropbox.com/s/8gw4b4ix56urt8n/Ayre.ly?dl=0
editor: lilybin.com
The source is a text file, copy it over and hit Preview, then download it from the top right menu.First delete the subtitle part with the organ registers and change the composer.
>>66064037
I guess recognizing the whole perception of sound as the basis to declare something music is how people have developed new ways to, how most people describe musical in a "poetic" manner, "express yourself, your thoughts and or/your feelings".
Pretty good to be honest, thanks.
>>66063551
well my actual point was that you could also go far deeper but i see that you went the other way
chord theory is rather limited at that
>>66064240
I really like this piece
>>66064294
Of course. I just used a basic explanation.
>>66059122
tried doing a ballad with a slightly complex rhythm. But I'm progressing really slow, dunno if I can see it through.
http://vocaroo.com/i/s1UCziTVEMHY
>>66064383
Thanks! I tried to make it sound like Reger/Mendelssohn/Rheinberger (see Reger Choral Preludes op 135a, Mendelssohn Organ Sonata N. 3, 2nd movement and Rheinberger Prelude for Violin and Organ op 166.)
>>66064513
yeah i know, i just read 6 whole posts of it
>>66064043
See this is the problem, there's no criteria to work upon and whether we pass or not comes down to the professor's own subjective criteria. It's really a shitty course because you're learning jack shit.
I have a short idea for a woodwind quintet (around 20 measures) that could work as a starting point though.
>>66064071
Because my professor is a stuck-up asshole who doesn't allow me to present none of my film scoring work, which is what I work on 100% of the time.
>>66064675
on the first day of class were you all
"hi i'm anon and i do
F I L M
I
L
M
S C O R I N G
C
O
R
I
N
G
W O R K
O
R
K"
>>66064675
so I guess my proposal >>66064240
is too short with just 32 bars? Oh well, good luck to you then.
I'm just fucking around but taking intro to music this fall as a non-music major.
https://clyp.it/bwmc34mc
Classical Guitar
Flute
Euphonium
About half way done. MuseScore.
>>66059122
>I can stitch this together into a single piece.
To make this easier on me, please email me the midi when you're done [email protected]
Are you telling me /comp/ is collective;y composing a theme and variations?
This is awesome
>>66059775
I have samples of harmonics, but I don't have any single string samples, so that wouldn't come through.
>>66061155
You want to define the root, which is fine, but only using close voiced root position chords is making your voice leading very jumpy. Don't be afraid to move some notes into the right hand, and it'll smoothen up your chords. They're very muddy with all the notes in such a low register. Thirds that low also get really muddy, I would recommend not putting thirds lowed than the Bb in the middle of the stave in piano parts. Also, just remember that you've changed the tempo so drastically it's going to sound weird amongst everyone else's. Also watch out in bar 9, you've got the violins playing an E right above that D in the piano, sounds kind of weird. Another clash in beat one of bar 13. Nice work though, keeping the original line as counterpoint to a new line is a great idea.
A theme and variations in which every variation is a parody of another composer's style:
https://www.youtube.com/watch?v=96NRIWPOJfg
>>66064519
really like where this is going. You've made the 7/8 feel really natural
>>66064834
>https://clyp.it/bwmc34mc
what ever your major is, you should just stick to that : ^ )
also uninstall musescore and dont take intro to music.
on second thought, just stop doing anything related to music, please.
>>66064834
so a lot of this is crap, yeah. I would invite you to revisit this after your fall class is over, and see how much you improved. The biggest problem with this right now is the melody. You should really try getting a nice, memorable, smooth melody. Try to get something singable.
If you post sheet music I can give you an indepth critique.
>>66064834
Weird. This is not a good piece by any measure, things don't fit together at all, but I kind of don't hate it? I find many reasons to hate it, but it's weirdly charming, personally.
You should definitely revisit this after you've learned more, as the other anon said.
>>66064834
>https://clyp.it/bwmc34mc
It's apparent you have a good ear (fourth and fifth motion in bass, many common harmonic progressions like I-IVm etc.), knowledge of accompaniment vs melody and arpeggiations, but yeah definitely take intro to music, don't listen to what these guys say.
I just finished up theory IV and I don't really compose (trying to start) but even so the knowledge is so cool to have it's great
