:sorc: Change the program to 78 and voila, you have a horrible MIDI sound of a whistle!.

Oh my gosh, I just played Fortress by Frank Ticheli, and it's not quite atonal, but it's pretty amazing :)

YAY!!! BOTH of my PTA Reflections entries went on to state/nationals! (I entered "Menuet du Clair,
"which I changed the name of to "My Favorite Place," along with a poem)

Congratulations!

Wow, what an honor :D Great job!

How do you traditionally notate changes in string playing such as tremelo/pizzicato, or what not traditionally? Forgive my ignorance.

*Tremolo (this is if you're talking about the repeating of the same note): You put the sign toward it... (see attachment)
*Pizzicato: You type in pizz. in the "pizzicated" parts, and when you want return to the regular playing, write in arco.

*Pizzicato: You type in pizz. in the "pizzicated" parts, and when you want return to the regular playing, write in arco.

Arco without the '.'. Arco is already the full word for bowing. Also, for tremolo, it should be three dash, cos most composers prefer that way anyways.

Guess what got me liking modern classical music: Piano Concerto No. 2 by Bela Bartok ^_^ If Rite of Spring is up to par, wow.

Bartok's stuff are pretty interesting partially because he invented the 'Bartok pizzicato' and 'built' the ensemble Bartok orchestra. There's one piece I want to hear by him... I remember it's called "Piece for Percussion, [Something], and Celesta". But I usually associate Bartok with Hindemith and Glass for some reason. And no, I don't really like Hindemith or Glass's music.

And yes, The Rite of Spring will blow it away, for sure. It's my favourite piece at this moment.

Yay, I just ordered my first orchestration book off of amazon.com!

Congrats, death :D I don't like ordering stuff off the internet, hackers and stuff could steal your credit card number and PIN number and stuff *shudders*

I kinda agree, Bartok's music uses a lot of block chords, which I have a distaste for :bleh:

Which book did you get? The Samuel Adler one? The Piston one? The Forsyth one? Or the Rimsky-Korsakov one?

Rimsky-Korsakov's Principals of Orchestration

Cool, I have that one too, but I tend to use the Samuel Adler one (The Study of Orchestration) more since it's more um... comprehensive. I am not saying Rimsky-Korsakov's book is bad, it's just more along the line of 'read-and-know-it' format as opposed to reference/textbook format.

Ah... I am stuck on composing lately... x_x

'read-and-know-it?' I don't get what you mean...

In another words: it's not like a reference book with every fact and pin points out every rule or whatever, it's like a book that tells you stuff in general and then you study whatever they ask you to in the scores.

In an off-topic comment,

I've been really into jazz chords in a classical-styled music, and have been getting a tad bit of rag-time in my music too--all codinated with that classical, or game OST, feel..

I seem like I'm turning in a Koji Kondo.. :heh:

That's interesting, I hope to hear some of your compositions soon. Speaking of change of style... I think I'm going on the 20th century direction... Screeching piccolos and flutes, grumbling double basses, heavy percussions on weak beats, abrupt cadences, and etc... are all part of my essential composition vocabulary.

Cool, I have that one too, but I tend to use the Samuel Adler one (The Study of Orchestration) more since it's more um... comprehensive. I am not saying Rimsky-Korsakov's book is bad, it's just more along the line of 'read-and-know-it' format as opposed to reference/textbook format.

Ah... I am stuck on composing lately...

Just like me :bleh:.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~

:think: I've heard of "The Study of Orchestration" being "misleading and "inaccurate".

For the guitar and mandolin sections, but for the rest, it owns.

This may be very basic, but is there any difference between a Timpani part having, let's say, a G (any G) as a dotted half note and a quarter note?

(Basically, can Timpani vibrate?)

EDIT: Another thing; at the end (of a song) in percussion parts, there is a marking l.v. What does this mean?

1. Timpanis have dampening pedals, therefore they can sustain notes for the correct values.

2. l.v. = Let vibrate (or let ring depending on the instrument)

VERY URGENT...

Can someone modify the .mus file attached to this post in this way for me (SOMEONE THAT HAS FINALE 2006 (not 2007, because it won't work well...))?

Images...

http://i82.photobucket.com/albums/j266/Bbclarinetist/StepI.jpg

http://i82.photobucket.com/albums/j266/Bbclarinetist/StepII.jpg

Press "New Staves (with Setup Wizard)"

http://i82.photobucket.com/albums/j266/Bbclarinetist/StepIII.jpg

Then press "Finish" and post it up.

I would do it myself, but I only have a demo :lol: . I can only use PrintMusic.

There you go.

Thank You! :)

Yay, my orchestration book arrived today! The author's preface is amusing, though, because he says that it's pointless to study Mozart, Bach, Haydn, and others because their ways of orchestration are obsolete compared to "modern" (i.e. Romantic) orchestration. Goes to show that the history element of musicology in his day wasn't as universal as it seems to be these days.

A song I found in a different forum (in a composition contest). But it seems pretty random :\ . 2006 can open it.

I wouldn't say it's random, it's a rhapsody. It had some very, very nice moments, and horrible developmentation I would think. The song doesn't seem to end well. :bleh:

Developmentation XD

(Kudos to SirDotdotdot for taking a good approach on the Compo project)

Hey, I can make up a word, can't I? Oh great Noir, thy Moderatortation! :bleh:

Just had to :P .
~~~~~~~~~~~~~~~~~~~~~~~

-ation
1. Action or process. Example: strangulation.
2. The result of an action or process. Example: acculturation.
2. State, condition, or quality of. Example: eburnation.

XD .

Oooh, I wouldn't call it random. It's a beautiful early 20th century tonal piece, it felt like a mixture of Chopin and Debussy/Stravinsky/anyone 20th century. I can even start to say that I like modernism/20th century more than classical or romantic. :P

@ Noir: Credits goes to Ajamesu too! =P

Some of the harmony bugs me, but I like some of it a lot. It's like Romantic music with a twist. What's up with the mixing of languages in the score/name, though?

Aww, thanks :) Sorry I couldn't be on more often, though, Songfest is killing me x_x

I like the flavor the glissandi gave to the beginning, it truly is a great piece :)

EDIT: Never mind... I didn't know what I was doing for a sec :\ ...

Clarinetist, did you ask for permission from the composer to post the pieces? Besides, what's the point of posting them? :mellow:

^Sorry. I can't really give a reason for posting it...

(see signature)

*Sorry for double post.

In the concert band piece I am studying ("Gypsy Dance" by Joseph Compello) it has a really weird time signature (6/8 + 2/4). How is this read? (in terms of how many beats there are per measure). There's also a quarter note metronome marking... for some reason. It also "feels" like it's in 5/4.

I think it's basically 6/8 in 2. So basically: 1 gets the beat and 4 gets the second beat. So the conductor only conducts 1 and 4 and it's like playing triplet in 2/4, like conductors conducting only 1 beat in waltzes.

Thanks! :)

Orchestration stuff in this song I'm wondering about (and yes, dealing with the same song):

Why double Flute, Piccolo (8va higher), Oboe, Alto Sax (Eb), and Tenor Sax directly in unison? It creates a coloring effect... (basically scales- Concert G Minor Scale (G 2nd line) ascending to first Bb above the staff. There is also a flute part going a 3rd interval above this.)

I've never heard an Alto Clarinet (Eb) before; why use it for Baritone cue notes? (I'm not assuming it sounds much different from a Bb- just lower).

For triangle, there's a ( o ) sign and a ( + ) sign above a few notes. What is this? (not even the percussion players know XD ).

~Thanks to whoever can answer all of these :heh: .

The doubling is logical only in band settings. Alto sax is a good blend with oboe and any other instruments in its family. Because alto sax smoothens out the oboe's nasal quality, therefore flute can integrate smoothly. And of course, piccolo is always above anything, thus it will work no matter in what woodwind settings.

Alto clarinet is like the tenor voice of the clarinet family, so it's logical to put baritone/tenor sax cues. Furthermore, cues are just note indicating where you are playing, you don't really play cue notes. :mellow:

The 'o' is not muted, while the '+' is muted. By muted, I mean that the triangle is NOT allowed to vibrate and ring.

Edit: I missed word in the triangle answer.

Oh... I thought that cue notes needed to be played (if needed).

Thanks again! :)

So you decided to study Gypsy Dance, huh? :)

The eighth notes are all even, so it does sort of have a 5/4 feel, except that the first, fourth, seventh and ninth eighth notes are accentuated (DA-da-da-DA-da-da-DA-da-DA-da). The beats are long-long-short-short (as Dot said). I played this song for Eighth Grade Select Band, ahh, good times :)

EDIT: You could play cue notes, if the conductor wants to change the parts around, because one time, we had a trumpet solo, and no one could play it, but it was in the alto sax's cue, so he just assigned the part to alto sax.

So you decided to study Gypsy Dance, huh? :)

Yes, I did :) . I didn't think I'd find any information on it UNTIL I looked at the Eagle Band website (band I'm composing for) (http://eagle.stillwater.k12.mn.us/~walkm//Eagle.html). So since my band director also directs that band, I asked him for the score. Luckily, he had about 7 copies of it :) . It has everything I need in it; solis, weird doublings (as mentioned above).

weird doublings (as mentioned above).

I'd suggest you to stay away from that. :mellow: The reason being I don't want your conductor/band members to suffer having to balance it nicely and secondly, not to get yourself into more troubles.

:P True. If you click on the link I provided (and look for "Gypsy Dance"), I know that's hard for a Junior High band to get.

:mellow: Well, even if you do have a good band playing your piece, having complex doublings will still cause a lot of trouble. Like they always say: "the simpler the better." I'd really really really really not do strange doublings unless I have a very good grasp of good orchestration. So in the end, I'd still say: no, don't do it for your own sake.

Ok then... (I am going to be leaving this forum in about 3-4 weeks from now for further study :P.... my band director decided to give orchestration lessons :) ).

What about your project then?

It's due before I leave... :mellow: ; or I'll stay longer.

Some might have noticed the fact that I didn't post in my composition thread for a really long time (since the CCCC to be exact, lol). My reasoning for this is that I'm really really stuck on this new secret project I'm working on (yes, it's secret and highly confidential). But I can tell you that it's surely 20th century influenced.

Well, since I'm having this problem, I'd like to see what you composers do when you're stuck. Do you stop working for a while and do something else? Or sit in front of the keyboard/piano and try to pluck a few notes for your composition? So yeah, basically, share your insights.

^I believe I may have asked this before...

What I usually do is sit in front of the keyboard (since I don't have perfect pitch for ideas that I get yet, I do some ear training at times). Sometimes I just listen closely (I mean closely) to the style I'm trying to write in. That's the reason for my "explosion" of ideas lately; I had a 3-4 month period of writer's block :bleh: .

Unfortunately, what I am currently writing is not your average baroque fugual writing, or romantic harmonizations. It's something that doesn't even have a standard. x_x

^ Oh. Forgot that it's 20th century :heh: .

:\ This is going to be tough... I had to compose something in this style one time...

Roll dice? :heh:

XD Nope, won't work, I'm not doing 12 tone series here.

Well, since I'm having this problem, I'd like to see what you composers do when you're stuck. Do you stop working for a while and do something else? Or sit in front of the keyboard/piano and try to pluck a few notes for your composition? So yeah, basically, share your insights.

Just don't give up. Either lock your door and commit yourself fully into the madness of composing, or allow yourself to take breaks and work on something else completely unrelated. Or write something the total opposite of what you're working on to get the creative juices flowing.

Lacrymosa!

Wind Chimes = Mark Tree? If there's any difference, just so people know, in my concert band piece, I want the instrument that is lined up like ( \ ) and the "chimes" can easily be slided.

and... what's with playing bells, marimba, xylophone, etc... with yarn mallets? :huh: Any difference?

Yes, wind chimes is mark tree. Mark tree is more of an American term and is used probably due to the fact that people don't want to mess up 'chimes' (tubular bells) with 'wind chimes'. Though I'd suggest you to keep using the term 'wind chimes' since it's suppose to be that way anyways.

As for your mallet question, yearn mallets are for softer effects. Yearn mallets can give a mellower sound on glockenspiel and a rounder sound on the wooden mallet instruments. If you use normal hard rubber mallets on these instrument, they're usually more attacked and articulated. There are also brushes, wooden mallets and wooden sticks used for mallet instruments. Though brushes are usually for cymbals and drums for most of the time.

*checks Wikipedia*

http://en.wikipedia.org/wiki/Mark_tree

Now I'm confused @_@ .~But then again, you never know... it could be wrong...

Thanks for the mallet part :) .

There are no difference actually, lol. From that article, they're just saying that wind chimes are basically any form of hanging chimes (i.e. those you hang for decoration and etc...) while mark tree is organized into a series. But meh, it doesn't matter, wind chimes are mark trees and mark trees are wind chimes.

From that article, they're just saying that wind chimes are basically any form of hanging chimes (i.e. those you hang for decoration and etc...) while mark tree is organized into a series.

XD Thanks. *Now to get back to the concert band piece.

I just finished the concert band piece I was working on a little while ago. Of course, it was right before Febuary break, but at least that gives my band teacher time to review it.

What's yours like?

Just check my composition thread (check signature), and head to the last page. It's not that good :\ . Only a beginner... I'll try to provide a MP3 on my next update.

I just wanted to update on sampling people a little bit (maybe not update, but just remind/talk/whatever :P); oh my god, after NAMM (this convention thing with electronic music stuff), a bunch of sampling companies are like throwing out new products, and they all look so interesting. EW announced that there will be 5 new sample libraries (Stormdrum 2 being one of them) with their own sampler named PLAY. :o But I'm interested in Garritan's Choir library thing more though... Along with their drag-and-drop sampler... Which sounds very interesting! But it's kind of weird that EW is lowering RA, EWQLSO series, and Symphonic Choir's prices by like 40%. I'm guessing they're developing something newer and more amazing... I'm hoping for a better choir library though... Though GPOA is also on my wishlist. :shifty:

When's GPOA out? :think:

Mr. Garritan said it's going to be from early summer or until late this year.

40% of an overpriced product is still overpriced though. I'd say pay for a decent broadband connection and download them.

Is GPO choirs better than EW's?

Is GPO choirs better than EW's?

XD I can't say for sure since it's not released... But I'm pretty sure it's gonna look pretty with the drag-and-drop (so basically: there's this stage thing on the screen and you click on the pictures of the instruments and put them wherever you want them on the stage) interface that Mr. Garritan said that he's going to use.

XD Funniest thing in Band today. My band director wants a percussion player (for a Latin-styled piece) to get a violin bow (which he has) and literally, slide one of the sides of the violin bow down (pointing down) on a suspended cymbal XD.

That's not uncommon. :mellow: Bowing percussions gives beautiful eerie tones.

Wow. :P Didn't know that until now and I did a lot of studying too.

I used a fiberglass bass bow on my vibraphone for a winter percussion show a couple of years back. It did make a beautifully eerie sound and it fit the murder mystery theme of the show.

Is it possible to do rolls on a bass drum (the big one; played with hands, not foot)?

Yes.

Yeah, but you need to use two mallets and two hands :P

Our band director told percussionists to use a quarter for a cymbal scrape o.o;

What is Cyclic form? I looked on Wikipedia, but I still don't get it.

It just means it uses a theme throughout to move the piece forward, basically. A good example of that is in the musical West Side Story, where there are several themes that occur throughout that contribute to the movement of the work as a whole.

Edit: Is there a reason people seem to be avoiding my thread? I guess maybe the forum's just dead of late, but...

VERY URGENT!

*Anyone that has Finale 2006/2007, please place the following file through GPO! I was told that I had to choose/make background music, on such short notice :\ .

If the reverb doesn't sound right to you, you can change it by going to:

Window ---> Mixer. Move it up or down to change it until it sounds good. I will be needing this for a movie that I will be making tomorrow.

Thanks in advance...

~Clarinetist

There you be! ^_^

Thanks Porsche! :) Sorry for the short notice.

I was wondering what the range of those instruments are:

Trombone
Bassoon
Horn in F
Trumpet
and
Cello

I need to know this for my current composition: 'Same Difference' (which can be found in my thread)

Everything's here: http://www.dolmetsch.com/musictheory29.htm

ahhh need help!... have my first assignment of the year... have to compose a solo piece for bass clarinet.. i've never composed for bass clarinet and dont even know the range:( could someone tell me??hehe:) and perhaps some other info about the bass clarinet..in terms of composition?? tyty!

I heard on the radio that Jamiriquai will be leaving the music scene for good. He says that he is too tired to tour around, and that he 'doesn't need more money anyway'. I think this is what seperates real musicians and those who are doing it soley for money.

This is a true example of a man not worthy of calling himself a musician.

I heard on the radio that Jamiriquai will be leaving the music scene for good. He says that he is too tired to tour around, and that he 'doesn't need more money anyway'. I think this is what seperates real musicians and those who are doing it soley for money.

This is a true example of a man not worthy of calling himself a musician.

I'd love to play piano as a job, this way I could earn the money I need to live, and I'll keep going with my hobby. I don't know who Jamiriquai is (should I? =x) but that's pretty sad really :(

Bass clarinets pretty much have the same range as a clarinet, except it has an extension to go to Eb (in the middle of the bass clef). I'm not sure how high it could go up to, I don't know if bass claris can go to upper altissimo, but I wouldn't go beyond C (above the treble clef). This is in Concert Bb an octave lower.

I play bass clarinet, and I can tell you this:

DO NOT EVER MAKE A BASS CLARINET GO ABOVE 3RD SPACE C! XD.

It sounds all weird. I've been playing Clarinet for 4 years, and Bass Clarinet for 1 year, and it is VERY hard to hit the 3rd line D. If you want to go above 3rd space C, fine, but it requires a lot of study. :P I can hit the upper altissimo notes, but the 3rd line D is SO hard to hit.

Keep Bass Clarinet parts on low notes. :yes:

I feel so blocked right now. I don't feel like I've composed anything with feeling since Pie Jesu (and no one liked it as much as I did)...

(I actually really liked it, man)

But yeah, I know exactly how you fell there, Deathraider. I've actually just recently opened up composing again; I feel I have a motive to actually work on something as time brings it at me.

I was in a block for about a year, but I've been studying over the past months by myself on composition and some orchestrating and I'm putting it to use finally. :heh:

You'll get over it Death, trust me. ^.^

A true composer can be out for about a year or so, only to come back naturally with much greater stuff. I'm sure you belong in this category :)

Definitely true. I can't find the name of the composer (I tried looking it up in my music book), but there was somebody who didn't compose for a good number of years. And when he resumed, everybody thought his work was a masterpiece.

Reminds me of the movie I watched today (I watched "Stranger than Fiction").

I've noticed~ orchestration is needed more around here :\ . I'm thinking about someone making an orchestration tutorial...

Hah, what I meant by "studied" is that I listened to many pieces (distinctly Beethoven and Tchaikovsky) and heard the different vioces and instruments and how they're used. I'm more of an analyzer than an actual reader from someone else telling me in words and pictures.

Hah, what I meant by "studied" is that I listened to many pieces (distinctly Beethoven and Tchaikovsky) and heard the different vioces and instruments and how they're used. I'm more of an analyzer than an actual reader from someone else telling me in words and pictures.

Same here, but after looking through all of the orchestrations/band compositions around here, some do need to know how to start -_- .

Grrr, open the new storyline topic soon. I'm anxious to see where this is going :p

This is a true example of a man not worthy of calling himself a musician.

I don't think we can really say that. So he doesn't want to tour anymore, so what? He's probably just tired of touring, like you said. Most musicians say that touring sucks ass. I'm sure he still enjoys and will play music for himself. He just doesn't feel like doing it for a job anymore. XD

Confusing Time Signature @_@ . There's just a 2. What does this mean?

Theory question~ (Cadences)

In C Major, what is the cadence that is always used...

in symphonies?

in concertos?

I have never heard of these kinds of cadences. I just read about it somewhere in a book. :think:

Is there a cadence that is *always* used? You basically have to use a PAC, IAC, Half, Deceptive, or Plagal Cadence, but...

Sorry... need to be more specific...

*In a concerto, there is a cadence used to cue a cadenza... any ideas?

EDIT: And yes, in the book, it did state that there is a cadence that is always used... :think:

Nah, it's different for each concerto/cadenza/composer. You do what you need to do to signal that cadenza.

Oh :P ... might as well look at that book again when I have the chance...

When is the next contest? :think:

Yeah it's been a while now; Four months since the last.. :huh:

*Lazy mod ponders* :think:

I still think it would be sweet if we did an elemental CMA...

Sure, we could... but in my opinion, that would be like composing a random theme, then people would go "Omg, totally sounds like FIRE" as a placebo effect.

But yeah, I'm not against it.

Ya up for Tone Poems?

Come on, get some romantic styles in here Noir! :bleh:

*Ahem, majestic re-entrance*

I like the tone poem idea, but I think we should do something more general since tone poem is more toward orchestral music and I know not all people here are orchestral composers.

No it isn't. Hah, I was actually looking forward to a piano tone poem.

Then again, your all orchestral, not solo. :P

Meh....

Yeah I really think we should do a "Romantic Era Composition Contest" mainly consisting of the new style invented then--the "Tone Poem."

I don't understand what you just said when you said "the "new" style invented then--the "Tone Poem."

I think he meant that tone poems was a new type of repertoire in the romantic era, thus we should do something romantic styled.

Though, now that we're talking about styles and stuff... I think, for the competition, we should do something that's different from our usual style (i.e. say if you're a romantic person, then try something baroque, or whatever). But meh, just a suggestion...

"Opposites Competition?" :heh:

That would be a good idea... :think:

But then again, some of us don't know what our main "style" is :heh:.

Well, then, just choose a style you've never done before or only touched on, I guess :)

Well, then, just choose a style you've never done before or only touched on, I guess :)

Bingo.

Oh crap.. Barooque.

BLECH!!

What d'you have against Baroque? o.o;

Well, I've never tried Romantic... Better go study some pieces :)

It's too annoying. I always hear bad string players and that nuisance of an instrument (tone) the Harpsichord. Ewwewewww.

And anyway, all the songs sound the same, I can barely tell distinctions with composers, other than SOME JS Bach.

You don't like how the harpsichord sounds? Well, it kinda is expressionless, but its tone is okay...

They don't ALL sound the same, but the "substyles" (I guess) are limited... What about Handel? He was another Baroque biggie :)

:think: It's either Romantic, 20th Century (but I think I should stay away from the atonal stuff :bleh: ), or Baroque for me... (I can't study Classical much anymore. I've studied Classical for the past 2 years and I still don't get it).

I never thought about what my style is like compared to the styles during the eras yet, so I may be wrong...

I never thought about what my style is like compared to the styles during the eras yet, so I may be wrong...

Style doesn't always have to be of the eras, I mean, many people does like anime/game music style, pop, rock, educational music and etc...

Buhuu... Someone tell me something to compose!

Write a waltz! I've heard talk those things are right popular.


It's too annoying. I always hear bad string players and that nuisance of an instrument (tone) the Harpsichord. Ewwewewww.

And anyway, all the songs sound the same, I can barely tell distinctions with composers, other than SOME JS Bach.
I don't like you anymore... :(

lol Poor Maestrosetti! Why does that offend you so?

lol- then i take that to mean you dont like me also

because i agree with him 100%

but dont get me wrong, there are exceptions in everything- the Bach prelude and fugue im learning for auditions (bk 1 nr 3 C# major) is lovely, and ive liked every Scarlatti sonata ive heard

but even so it all sounds the same; if someone played Bach followed by Scarlatti followed by Handel and told me all the pieces were by Bach, i would believe them

Buhuu... Someone tell me something to compose!

Write a Gregorian chant styled mass notated in neumes. :ph34r:

The only "Barooque" stuff I like is probably the Messiah, and some of Bach's songs, maybe like 5 when I hear 'em.

The only "Barooque" stuff I like is probably the Messiah, and some of Bach's songs, maybe like 5 when I hear 'em.

Well, baroque music is known (to me at least) for its simple complexity (as in like easy to listen but complex to understand and compose) and that's what makes me admire it so much. On the other hand, early to mid romantic, and classical is totally not my cup of tea, though I do understand Mozart is a genius when I play his music (you can 'feel' where every note falls and etc...), but for the rest, I really don't find anything that attracts my ears or feels nice to play.

Help me on a confusing time signature, please...

http://imslp.ca/images/a/a5/Byrd_-_Fantasia.pdf

William Byrd's "Fantasia"

i dont really like Mozart
all of his stuff sounds the same
but even so i appreciate how much skill it takes to perform his music
same goes for Haydn
same with Baroque
just because you dont like something, doesnt mean you dont appreciate the work involved.

but everything from late Beethoven to Ravel is more my thing- add a few composers after Ravel like Messiaen and Takemitsu; i dont like all this Cage, Schoenberg, Sorabji and Xenakis rubbish though

edit: ajamesu- i think what that time signature means is that some bars are to be counted in 6/2 and others in 2/2

Help me on a confusing time signature, please...

http://imslp.ca/images/a/a5/Byrd_-_Fantasia.pdf

William Byrd's "Fantasia"

I think Thorn may be right about that. Plus I can literally, be able to "listen" to sheet music just by looking at that sheet, and it looks like you based your last composition on this song :P .

just because you dont like something, doesnt mean you dont appreciate the work involved.

but everything from late Beethoven to Ravel is more my thing


Yeah that really sums it up. I don't like Barooque, but I still appreciate and understand why he was one of the best.

And I have the same tastes.:heh:

*Off Topic*

For Timpani rolls, is there any difference in putting a tr~~~~~~~ mark on a note or a tremolo marking? I've noticed that tr~~~~~~~~ is very common...

Either are the same, though I'd say tremolo markings are more accurate if you want to notate a faster roll or a shorter roll or even a buzz roll while the trill just tells the performer to roll.

Thanks. Now there's something about the Harp that I need to know:

Can harps be tuned to any pitch (like how there is, for example, a Clarinet in A, C, Eb, Ab, etc...)? Because while looking through some scores, there's text in the harp part that has stuff like

"Arpa I in C, Dis, Es, Fis, Ges, A, His".

And what are "Piatti" (instrument)? I put it through a translator, and it said "Plates". Are they cymbals?

Harp: yes, they have pedals to either tune each note of the diatonic scale up a semitone or down a semitone (say if you want the D to be D#, then all Ds on the harp will then be D# after you make the harpist do that). So depending on your accidentals or key signature, you need to indicate the change of pedal and so it's not a bright idea to always change key signatures when you're using a harp as using the pedal too much will cause the harp to get out of tune.

Yes, piatti is a type of cymbal.

Question for writing for drum set:

What are the "notations" for each drum and percussion instrument. Finale's notation is wrong, since I look at an actual part and Finale is off..

Seriously, I need to know--gonna make some jazz pieces for next years Jazz I.

(Just got out last concert done tonight-- was a good Jazz I year!)

it looks like you based your last composition on this song :P .

Actually, I rarely base my own songs (maybe get inspired, but I rarely take ideas) on other songs. I was just looking around songs made in the Renaissance period because I have never heard of a Renaissance era in music before last night o.o; Seriously, so I was getting acquainted with the era and stuff...

Question for writing for drum set:

What are the "notations" for each drum and percussion instrument. Finale's notation is wrong, since I look at an actual part and Finale is off..

Seriously, I need to know--gonna make some jazz pieces for next years Jazz I.

(Just got out last concert done tonight-- was a good Jazz I year!)

When in doubt, use one-lined rhythmic notation :P (that's how I got it through).

For Snare Drum, I usually notice notes on a C (3rd space- individual part). If it's for the score, be sure to put all the Percussion in one or more staves (one lined; make sure no more than 2 percussion instruments are playing at once per staff). Then you just place S.D. somewhere on the top part. B.D. is pointed down, so be sure to use layer 2 for B.D.


Actually, I rarely base my own songs (maybe get inspired, but I rarely take ideas) on other songs. I was just looking around songs made in the Renaissance period because I have never heard of a Renaissance era in music before last night o.o; Seriously, so I was getting acquainted with the era and stuff...

The Renaissance Era (I think) is well known for the pieces made for vocals and all of the other inexpressive instruments (in my opinion) -_- .

Speaking of percussions, I notice that many composers are used to using symmetric or pattern-based rhythms when using percussion. I for one is someone that does not like pattern-based or repetitive rhythms when using percussions or percussive effects in my own compositions (though I use it, it's just that I don't like using it), so what about you people? Are you acquainted with using percussions in a pattern-like manner or pointillistically?

Speaking of percussions, I notice that many composers are used to using symmetric or pattern-based rhythms when using percussion. I for one is someone that does not like pattern-based or repetitive rhythms when using percussions or percussive effects in my own compositions (though I use it, it's just that I don't like using it), so what about you people? Are you acquainted with using percussions in a pattern-like manner or pointillistically?

x_x I do regret putting in repetitive rhythms in my band piece I made, but I think that's how it is with band pieces (in other words, I don't like repetitive rhythms either). The only reason I would put in different rhythms in a song is if the themes are very short. 4 measures. I want to make a song some day that just introduces one theme, then introduces another later, and the piece can still continue using the two (or more themes; isn't this a Romantic Styled form?).

Woot~! I added 2 extra gigs of RAM to my computer (so 3 gigs in total) and that means... massive sampling and large ensemble composing!!! >=)

lol... ram

*giggles immaturely*

Woot~! I added 2 extra gigs of RAM to my computer (so 3 gigs in total) and that means... massive sampling and large ensemble composing!!! >=)

Lucky :P . I only have 512 MB.

512 mb isn't really that horrendous, you can actually do some work with it, unlike 256 mb. :ph34r:

Wow. The composition forum has been "completamente muerto" (completely dead) lately...

Indeed. ._.

Edit: Al and I brought up a very interesting topic on MSN, and I thought I'd share it with you people:


Alphonse - she makes me smile | life's simple; people aren't says:
to me, symphony is more 'grand' and 'loud'
º·*·º¨¨·* ۪«ємקтזпєςς»۪ *·¨¨º·*·º says:
you know, symphony's doesnt have to start grand
º·*·º¨¨·* ۪«ємקтזпєςς»۪ *·¨¨º·*·º says:
*symphonies
Alphonse - she makes me smile | life's simple; people aren't says:
yes, but for an opening movement, you want to capture the audience's attention and make it stand out
Alphonse - she makes me smile | life's simple; people aren't says:
usually, the first and last movements of a symphony are the best and the most well-known
º·*·º¨¨·* ۪«ємקтזпєςς»۪ *·¨¨º·*·º says:
i still think loudness doesnt mean 'stand out', soft melodies can stand out too

What do you people think? Should symphonies sound 'grand' and 'loud' or can there be exceptions and otherly sounds?

Soft melodies can capture attention as well as loud ones :)

Here's a definition I found:


Symphony: an extended piece for full orchestra, usually serious in nature and in several movements.

I guess it varies from composer to composer.

No one answered my question on DRUM SET not notating different drums in band/orchestral music. I mean like a DRUM SET, for a JAZZ BAND. Snare, Cymbal, High Hat, Toms, Kick, etc. x_x

No one answered my question on DRUM SET not notating different drums in band/orchestral music. I mean like a DRUM SET, for a JAZZ BAND. Snare, Cymbal, High Hat, Toms, Kick, etc. x_x

Oh, Drum Set? Use a one lined percussion staff. For Crash Cymbals, use an (x) instead of a regular notehead, a dot (if needed), and a tie (Don't forget to write Crash Cymbal when played). Snare, just put it on top of the staff, and write "S.D' when it's played (same applies to Suspended Cymbal, except you write "S.C"). For the kick (I'm assuming) you have to put it on the bottom of the staff (layer 2- red notes) and note when it's played (same applies to Bass Drum). High hat is on the top part of the staff. Toms, I don't know (but I'm probably guessing the top of the staff, notated like snare drum). Basically, don't forget to note when it's used, and what instruments are notated on the bottom or the top of the staff. If too many instruments are playing at once, you may have to split it into 2 or 3 staves.

Are we still doing the "Opposites" competition? :think:

I don't know, but aren't we still doing the story/composition thing?

We are, but they should work 'piu allegro' and you should bug them when they're going off track or going too 'lento'.

We are, but they should work 'piu allegro' and you should bug them when they're going off track or going too 'lento'.

XD Musical terms in regular communication.

Wow, the composition forum is extremely dead. I haven't seen it so dead for such a long time. x_x

Don't worry, I have all these damned ideas, and I'll finally be putting Finale to use in the summer.

Wow, the composition forum is extremely dead. I haven't seen it so dead for such a long time. x_x

It's getting worse and worse :\ . Especially since we're making a composition contest. Then I'm ("partially") leaving tomorrow :bleh: .

Ladies and gents... For those of you who remember me... I'm just saying hi again. I feel bad that I haven't been on here in so long. For certain I haven't stopped composing. If anything, the stuff i've been writing has gotten better. However... The reason I've stopped posting my work on this forum site is because many of the pieces I write can't be listened to as a midi, or an mp3. I find that to be heard and played correctly, I have to get HUMANS to do it (the horror!). On that note, several of my pieces have been performed by the school band, and various combo bands at my school. It's all very exciting. I came back largely to say thanks to al and noir especially, but also to everyone who ever commented on my songs and composing doodles. I've come so far, and perhaps will take composing as a career, once i FINALLY get into college. So thanks, you guys. If it weren't for your support and constructive criticism, I'd probably be sitting on my butt watching tv. All right. I'm done now. Bye!

Playable or not? Note that in meas. 33, it says "Play either part". I'm having doubts because it demands a bunch of scale-like stuff.

*Claims post #666 (667, if you count the first post)* :ph34r:

@Clarinetist: If think your piece is highly playable for more advanced pianists.

On the other hand, are we going to do a contest at all?

Edit: Oh, and another question: do you people have any recommendation of good soundfonts (note: soundfonts, not samples) of alto, tenor and baritone saxes? Of course, I need it $$$-free.

^ www.sf2midi.com . I've never tried them yet, though :P .

(Lack of ideas lately x_x . I can't even compose a simple melody without using a bunch of chromaticism).

I get the impression that you're thinking too much, clarinetist. Your orchestration skills have greatly accelerated, but how did that affect your artistic ability? (Not implying that it's weaker, I'm just curious about orchestration and theory impact on composing)

As for getting your creativity up, how about composing for a reason of some sort? Sometimes it can be hard to think something up on the spot, but if you have something to compose *for*, it might strike sooner :)

I agree with Noir; as picky as I am with orchestration, notation, and other factors for composing, I still believe the most important point of composition is the thoughts, ideas, feelings, and reasons of the music itself. I guess that's why I like impressionistic music; there's more feelings through colours of music.

Though, being a fan of orchestration, I would like to say the following: Even though there are rules in orchestration, orchestration is just like a palette of different colours; every instrument has a different colour and are capable mixing with one another. But, even if the colour is mixed beautifully, one must beware of the context the colour is used in.

Edit: I think the compositions forum has returned to peace... After recruiting for a lot of help and support... If anyone gets what I'm saying. :ph34r:

Ladies and gents... For those of you who remember me... I'm just saying hi again. I feel bad that I haven't been on here in so long. For certain I haven't stopped composing. If anything, the stuff i've been writing has gotten better. However... The reason I've stopped posting my work on this forum site is because many of the pieces I write can't be listened to as a midi, or an mp3. I find that to be heard and played correctly, I have to get HUMANS to do it (the horror!). On that note, several of my pieces have been performed by the school band, and various combo bands at my school. It's all very exciting. I came back largely to say thanks to al and noir especially, but also to everyone who ever commented on my songs and composing doodles. I've come so far, and perhaps will take composing as a career, once i FINALLY get into college. So thanks, you guys. If it weren't for your support and constructive criticism, I'd probably be sitting on my butt watching tv. All right. I'm done now. Bye!

Oh man! I've been waiting for new compositions by you man. Glad to see you haven't forgot about us! (Btw, I was once named "Maestro~" but I changed due to I <3 Mazeppa.)

I get the impression that you're thinking too much, clarinetist. Your orchestration skills have greatly accelerated, but how did that affect your artistic ability? (Not implying that it's weaker, I'm just curious about orchestration and theory impact on composing)

As for getting your creativity up, how about composing for a reason of some sort? Sometimes it can be hard to think something up on the spot, but if you have something to compose *for*, it might strike sooner :)

I do notice that :\ . When I start inputting notes in Finale Printmusic, I think about every single note I put in, and what it does to the chord I'm constructing.

My artistic ability did go down, which I noticed it happened when I made that "Balance Etude" idea -_- (after I learned more about composition, I knew that song was bad when the 4th measure started :bleh: ). The band piece I made ("Compound Meter Etude"); I was just lucky to have that idea. Some of it, I got from listening to "Gypsy Dance" by Joseph Compello, my 1st band idea I had, and the first composition I actually made in this forum.

It usually takes me a while to get an idea. Before I posted the band piece up, I took a "break" off composing for about 3 months :o .

Yeah. Even though I like the final product of my newer compositions, I like the idea of my old ones more. They're much more straight-forward and clear, but they don't have the same effect...

Oh yeah, I know how you feel Noir.

As I was organizing my folder on my comp, I listened to all my compositions from last year (Like the Ichigo's Themes from the game we were all making). For one, I was a Beethoven-Classical style back then, but now I am really OST sounding, and a lot of it is from Kondo and the composers from Soul Calibur (a lot from Soul Calibur).

Mainly from SC, because it's great background music, but also great to listen straight forward-- it has a noticable melody and form! :heh:

I bet most people go in the opposite direction of that :)

But it seems like I'm the only one trying to go into the impressionistic, and 20th century style. :O Though I must say, my melodies remain fairly tonal.

http://www.mapmakersheaven.org/forums/viewtopic.php?p=13488&sid=2db9878bb3ea2a46c17fbb14eac2d03c

Seems it isn't the only forum he's been banned from... (read the first post)

o.o *does a Google Search*

It looks like he's on "thousands" (<-- exaggeration) of forums.

Are we still going on with any of the composition contests? (especially the "opposites" contest, which we probably may be able to start sooner...)

I doubt it. I'm pretty sure a lot of composers here are busy with stuff too. :mellow:

EDIT: I guess we should do the contests in the summer, then.

^ Definitely cuz a lot of people could be busy with end-of-the-year projects, exams, etc.

What's this "opposites" contest? Sorry, I've been out of the loop here, and I'm too lazy to search.

So, does anybody have an interesting composition project they've been working on? Share your stories!

AAAAAAAACK!!!! My first IB exam is in a week!

The idea of an opposites contest was proposed earlier in the thread. Basically, the idea was to compose a song that was completely out of your normal composing bubble, opposite your style.

So, does anybody have an interesting composition project they've been working on? Share your stories!

I am working on a super secret and huuuuuuge project that only some people knows about. And I don't even know whether I should share it when it's done...:ph34r: Secret, mysterious, and huge project.

So, does anybody have an interesting composition project they've been working on? Share your stories!

In my head. I'm too lazy to sit down and figure out the melodies and chords that my damn imagination keeps dishing out to me. x_x

I really want to compose some stuff in the summer... it's kind of hard to compose while I'm at uni, hehe. For a start, I don't have my piano whenever I want it (I'd have to walk 20 minutes to a practise room, and even then I have to be lucky if one is free), and the composition modules in the music course... just not my cup of tea, lol. It's all this new music stuff which can be nice in small quantities, but... meh, lol.

>.< One lesson I've learned about notation. It's very important. That's why I have to reprint my 16 page band piece to my director >.< .

OMG OMG I'm sooooooooooooo excited! I get to go to the world premier of the Wilberg (as in Mack Wilberg, which I hope somebody knows who that is since he's basically the present day Bach) Requiem being performed alongside the Mozart Requiem (which I absolutely love since my choir just got done with performing it)! It's so great!

Hmm... Right now, I have the option to choose between one of the following: a.) a theory teacher (which is my former piano teacher for I quit piano and hate it with a burning passion; yes, I hate playing the piano now) b.) a composition teacher. Which should I get? I'm pretty sure both kinds of mentors have different objectives and teach different things... But all I can understand now is that a theory teacher is more like working with various theories, rules and whatnot of music while composition teacher is more like learning how to apply certain things to music.

^I would go for a composition teacher. I'll explain in detail why later.

Does anyone know of a program that can actually move music notation properly and evenly without having to do so much editing? <_< Finale is so bad. When I made my last band piece, the staves were so squished (and they were so small that my band director went to his eye doctor (he thought his eyes were messed up; it makes me wonder how Finale can handle an unlimited amount of staves) XD ). So I had to squish 2 clarinet parts in one staff, same with French Horn, Saxophone, Trombone, and Trumpet <_<, which was very time consuming, and I had to print each page one by one (out of 16 x_x) and edit each page one by one. The measure numbers didn't even line up :mellow: , so when my band director asks the band to go to a specific measure, he says, "Go 20 measures after measure "x"". I don't know if Sibelius could do any better.

Sibelius does a better job, that's for sure, you can edit the look and everything of a score. Though, to make it perfect, it takes some times and technique. :mellow:

I can conclude that Finale cannot handle an unlimited amount of staves. Examine:

http://i82.photobucket.com/albums/j266/Bbclarinetist/Noname-6.jpg
That's less than 80 staves. (NOTE: Image will be removed later to save space).

Wow, but remember, who's gonna write a piece with 80 staves? Let alone close to 40?

Wow, that Requiem that I said I was going to by Mack Wilberg was AMAZING. If you ever get the chance to hear it, take it!

My parents just bought a new house, and one of the rooms is going to be our music studio . . sweet!

Goody! Then you can record more of your great compositions again Al. ^.^

I just watched both of your vids on YouTube, yet again for the 50th time each. :sweat:

Al, your music is driving me nuts! I was just walking around the house, and I had the main melody from "Memory of Hope" stuck in my head. The worst part was that I didn't know what it was from, and I spent half an hour browsing the forum looking for the song. (I couldn't remember who it was by) I FINALLY found it on your youtube. :P I love your simple and elegant melodies. They get stuck in my head a lot.

Woah, you look a lot different than I expected for some reason!

My parents just bought a new house, and one of the rooms is going to be our music studio . . sweet!

*jealous*

If my house had a room just for music, that would be so much nicer than having the piano stuck in the corner by the family PC and surrounded by my mum's folders full of work. I can barely pull the stool out enough, haha.
My house doesn't have a room that would even fit a grand piano, lol. And my teacher sometimes talks about how he has THREE.

That sounds awesome Al, you deserve a studio!

That sounds awesome Al, you deserve a studio!

I agree, and I also think he deserves his personal orchestra... Or at least an ensemble of some sort. :P

We have a music room with a conservatory grand in our new house. It's nice.

Both me and my dad are going to release a CD of our compositions, so yeah, that should be fun. It's a small room though (just big enough to hold a computer and recording equipment), so don't get jealous guys! =P

*is still jealous*

I don't even have a keyboard with a working pedal. :P I hate being broke and jobless. :( (No one will hire at my age)

Be a sweeper at your local school!

Both me and my dad are going to release a CD of our compositions, so yeah, that should be fun. It's a small room though (just big enough to hold a computer and recording equipment), so don't get jealous guys! =P


*is still jealous*

*also still jealous*

I'm in a tough situation right now :\ . See this file:

4429 <--- Requires Finale Notepad 2007 (miminal requirements)

I do not want feedback/comments on how this song is (and/or what I could improve on, etc...), because I had little knowledge of orchestration and composing, compared to how I am now, and that is not the purpose of this post.

~~~~~~~~~~~~~~~~~~~~~

Here's my situation:

The song I composed above was for a band at my school. Problem is, there was little time for the band to rehearse it, and it was hard for them to play it in 2 weeks :heh: . So the band couldn't play it for a concert.

Now my band director told me that I should send the above file to the high school bands (Junior/Senior bands). I have 3 choices, though:

1. Send the above song to the high school band director that I will go to next year.
2. Make a new song, and send it to the high school band director.
3. Make a new song, and send it to the Chamber Ensemble (yes, it's a Chamber Ensemble in a High School :P).

What would you do?

I'd say a new song, and I think it wouldn't really matter which ensemble you send it to.

~~

Just sent an application for the summer program at Northwestern for Music Composition. I am 99.9% sure that I will be accectped.

Just sayin', it's a really cool program, check it out sometime.

Ugh, I want to do one of those, and I think I've gotten letters from there and Berkley about summer programs, but they're EXPENSIVE!

That's why you should get a private composition teacher, instead of going to all those programmes since 1.) they might have a quota and it might be full 2.) you're probably gonna be with a lot of other people. But I do participate in smaller composition workshops where only a few people joins, since it's a good way to share ideas and whatnot with other composers.

Still don't have the money for that!

Still don't have the money for that!

True. XD But meh, if you're lucky and know people who are friends to composition professors/teachers, perhaps it may be cheaper. Or some retired composition professors might be bored and decided to teach people composition for free or whatever. :whistle: Who knows?

I'm in a tough situation right now :\ . See this file:

4429 <--- Requires Finale Notepad 2007 (miminal requirements)

I do not want feedback/comments on how this song is (and/or what I could improve on, etc...), because I had little knowledge of orchestration and composing, compared to how I am now, and that is not the purpose of this post.

~~~~~~~~~~~~~~~~~~~~~

Here's my situation:

The song I composed above was for a band at my school. Problem is, there was little time for the band to rehearse it, and it was hard for them to play it in 2 weeks :heh: . So the band couldn't play it for a concert.

Now my band director told me that I should send the above file to the high school bands (Junior/Senior bands). I have 3 choices, though:

1. Send the above song to the high school band director that I will go to next year.
2. Make a new song, and send it to the high school band director.
3. Make a new song, and send it to the Chamber Ensemble (yes, it's a Chamber Ensemble in a High School :P).

What would you do?


I'd say a new song, and I think it wouldn't really matter which ensemble you send it to.

@_@ Just looked at the ensemble that I will be at next year for high school. The instrumentation is SO weird.

16 Flutes
1 Bassoon
8 Clarinets (including me)
1 Bass Clarinet
6 Alto Saxes
3 Tenor Saxes
2 Bar. Saxes
6 Trumpets
7 Trombones
2 Euphoniums/Baritones
4 Percussionists.

So many Flautists. A Bassoonist but no Oboist @_@ . No French Horns. Only 4 Percussionists...

I guess I'll have to split the Flutes into 3 parts :\. Attached is how I will divide it... (Anyone know what the Percussionist(s) can double on? (I mean, can any of the percussionists, based on the attached file, can play 2 of the instruments? I am considering putting Cymbals and Triangle on the same person.))

And the score looks so TINY!

I guess I'll have to split the Flutes into 3 parts :\. Attached is how I will divide it... (Anyone know what the Percussionist(s) can double on? (I mean, can any of the percussionists, based on the attached file, can play 2 of the instruments? I am considering putting Cymbals and Triangle on the same person.))

And the score looks so TINY!

The percussionists will figure it out themselves.

~~~

That score isn't tiny at all, in fact, most of my orchestral scores have staves that are even smaller than that. ._.

~~~

And oh my god! I'm gonna meet a professional composer soon! Hopefully he will be my composition teacher. :P

Darn you...
*feels left out*

I've met two professional composers: Barry E. Kopetz and (I don't know his name) the Japanese guy who composed "Spiritual Planet." They're both great people and really interesting characters, and they both have stories and interesting ways of teaching us how to play songs. They're fun to be around with :)

EDIT: He came back (the Japanese one from LA)! His name is Wataru Hokoyama (I think) :) He's such a good teacher, and he's actually likable :)

I met David Fanshawe during high school. His most famous work is "African Sanctus", which uses recordings of African tribes who have since been killed or lost. It's a huge work and it's really beautiful and exciting at the same time :) And the man himself is quite eccentric!

At my uni, two of the professors, Vic Hoyland and Jonty Harrison, are professional composers. Vic is more into New Music, and Jonty does studio composing.

I have just composed a sheet music for the flute! I want to put it on the site, as tehre are not a lot of flute entries...

Who do I contact/Where do I post it?

Just make a thread and attach it to your post.

Ok... doesn't that make a lot of threads then?

You make a thread for ALL your compositions. Keep them all on one thread.

Ogh good good. I will thanks for help.

So, fellow composers. What are your habits when you compose? What exactly are you doing when you compose? I'm not talking about how you write out an outline, or figure out chords. I'm talking about what you physically do when composing.

Most of my ideas occur to me when I'm walking/singing. But I do the majority of my work at the computer and keyboard, trying out this or that and seeing what works. Then I pace back/forth quite frequently. I also like to stare out the window towards my neighbour's cat. That's always fun. Oh, and sitting on the toilet. Lots of ideas there, it's like a gold mine.

My ideas come to me when I just think about life when there's nothing else to do and ideas flood to me (although currently, the well is dry :P), like when I'm walking, waiting or lolling around. Then I just play around on the computer and my keyboard. I do most of my work purely with the computer, but I get my best ideas from my keyboard (even though they're not as abundant). I basically just concentrate on the song... if not, I'll play around on the internet or play different songs for inspiration.

The toilet? That's interesting, haha.

I often get ideas when I fall asleep, or when I'm dreaming, lol. Divine inspiration?? Hahaha.

When i feels like composing something will just come. I will try out the tune on my violin, then write it down using my computer.

I don't know... It's more like I have a library of series of tones in my head and I just randomly pull it out in random times... I don't really know how to explain. :/

Oi! I just finished my first film score! (This is the main reason why I haven't been here... at all these past few weeks/months). It's not a paid job, but it is a school project film which we have been working on for a year :)

What's happening around here?

Nothing much, really... :heh: Other than the fact that Gnomish is back! The composition project thing doesn't seem to move at all, people are commenting on each other's work like usual... Heh.

Just got accepted into Northwestern's Univ. High School Summer Course in Music Composition!

:)

Congratulations, Hubby! I've only heard good things about that program. I used to live a block away from the Music Department of Northwestern. I wish I still did. :(

*dies of jealousy once again*

Someone give me money so I can do stuff like that, too.

Does anyone know an Italian term for 'ominous'? I'm not going to take the chance with ominoso, lol.

I don't believe there is... try using a different word.

There's an adjective form of ominous, minaccioso, and like five more for ominously with different meanings:

ominously (foreboding) che preannuncia
ominously (in an ominous way) con minaccia
ominously (obscure) oscuro (inquietante)
ominously (of bad omen) di malaugurio
ominously (prophetic) profetico

Con minaccia or minaccioso look to be your best bet cuz they sound the most adverb-ish. Oh, I'm not an Italian expert or anything, so I could be wrong cuz I found this on an online dictionary which could be wrong, haha.

Wataru Hokoyama's (our guest conductor) "Spiritual Planet" is a pretty powerful piece, so listen to it if you can (I don't know if there's a recording online, so I'll put up my band's recording when I get it) :)

What are all of your opinions on GarageBand? I believe that GarageBand does not promote creativity as much; you just drag a bunch of stuff :sigh:. You can't make up your own notes/rhythms. The closest I can get to notation on this program is the Piano part. You can control volume, but when you need a crucial chord (minor chord, in my case), you have to cut it out of one of the already-made GarageBand tracks. :bleh:

Especially when you are trying to blend a Bass with Orchestral Strings and Piano, it doesn't work out <_<.

Does anyone know an Italian term for 'ominous'? I'm not going to take the chance with ominoso, lol.

Sometimes, it's best to simply describe what you want from the performers in the language you are most comfortable with, in your case, English =P That way, you leave no doubt in interpretation. And then you can be more descriptive as well, rather than using just one word.

I was working through an example in Johann Fux's "Gradus Ad Parnassum" and I was wondering if anyone could take a look at it and correct it if need be. The example is on page 110 of the edition translated by Alfred Mann and is figure 160. I used the cantus firmus from the example and did my own counter point.

Please and thank you!
http://download.yousendit.com/A4CAE3A939B90476

OK, LOTS of issues. Fist thing I noticed is that you doubled the leading tone on the second to last chord, which you should NEVER do in four part writing. Second of all, that made it so you had parallel octaves between bass and soprano on the last two measures, which you should also NEVER have. The other major problem is doubling. What do you know about doubling rules?

Nothing, sadly. Please, Tell me everything, don't hold back! (Thank you by the way :) )

OK, for doubling in ROOT POSITION of a chord, you should always double the bass unless in extenuating circumstances. Furthermore, only triple the bass in extenuating circumstances. In FIRST INVERSION, you should always double the soprano part, unless it is a diminished chord. In a diminished chord first inversion, double the bass. SECOND INVERSION, you should double the bass unless in extenuating circumstances.

Also, remember to check to make sure all your chord tones are there (unless you had to double the wrong thing in order to avoid doubling the leading tone or creating a parallelism) in every chord. That was an issue definitely present in your harmonizations.

Try not to move your bass/melody/soprano lines in the same direction (up or down on the staff) when you don't have to. It creates many problems such as parallelisms and hidden parallelisms.

What was your intended chord progression?

That was my big mistake, I didn't have one :\
And I feel pretty stupid about it now that I look back on it :sigh:

Anything else I should know? (Thank You Very Much! ^_^ )

Well, maybe a bit about chord progressions. What do you know about that?

Edit: oh, and also note the difference between "bass" and "root" because they are often mistaken for each other even though they mean totally different things.

What I know is...
1. ...that it's a good idea to start with the chord your key signature is in.
2. ...that the notes of the chord appear to move in the three motions: dirrect, contrary, and oblique.
3. ...and the first chart Here (http://en.wikipedia.org/wiki/Chord_progressions)

Yeah, so basically the strongest progressions are the ones that have a descending root movement of a fifth or an ascending root movement of a fourth (a circle progression) such as V-I, vi-ii, vii-iii, I-IV, ii-V, iii-vi, or IV-iiv. Remember that the strongest of these is probably V-I, because it's the Dominant to Tonic relationship. Basically, you want to use circle progressions when you can. However, along with your melody, it may be appropriate to use any other progression as well, but don't use an excess of second progressions (I-ii, ii-iii, iii-IV, etc.). Use them only when transitioning from a non-circle progression to a circle progression, or from one circle progression to another. I could explain more, but the chart says most of the rest.

Oh, and a vii chord can be used as a V (dominant) chord when you want to vary things.

Remember in minor that the V chord will have a raised third (which is the 7th scale degree) 99% of the time, and also any other chord in which the 7th scale degree is used, that 7th degree will be raised to create the leading tone, which in chord progressions makes the pull to the next chord (especially the tonic) stronger. Remember that in your voice leading, though, you must make sure not to have augmented second intervals (if you went from the 6th to the 7th scale degrees when the 7th is raised).

That's all I can think of to say at the moment.

Oooh, if it's basic harmony (before, I thought you were talking about two parts/three parts counterpoint writing which involves fugual structures and whatnot @_@) then I guess I can give a hint or two:

1.) When your bass is moving in a certain direction, it's best that the other three voices move the contrary motion. This can avoid A LOT of parallels.

2.) Keep the chords spread so that you can avoid crossovers.

3.) If you write in minor, you melody should be in melodic minor instead of harmonic minor to avoid augmented second intervals.

4.) Double as much of the root as possible if the chord is in its root position, if it's in inversions, you may double the third or the root.

5.) Always use the vii(dim) chord in first inversion to avoid parallels.

6.) When you use vii(dim) chord as your cadence, your tonic chord will always end up incomplete, unless you leap, but leaping is never good.

7.) When you leap more than a 4th, always make the next note after the leap the opposite motion.

I hope that helps.

3.) If you write in minor, you melody should be in melodic minor instead of harmonic minor to avoid minor second intervals.

7.) When you leap more than a 4th, always make the next note after the leap the opposite motion.


Ok, I basically already said everything you just said, except #2 and #5. I had some problems with what you said, though. For one thing, on #3, it's an AUGMENTED second, not a minor second, that you must avoid. However, you definitely shouldn't ALWAYS use melodic minor, (where you raise the sixth and seventh degrees), because there's other ways to avoid that augmented second.

#7 I'm pretty sure is mostly just for 2 voice counterpoint, but it's a good idea in other situations anyway.