Ravel was an innovator as far as contemporary chord were concerned. Those are extremely dense chords, that probably have very peculiar names. That's in response to clarinetist.

Edit: I'm the 1,000th post!

Planing - courtesy of Wikipedia

"Planing is a reharmonization technique used by both improvisers and arrangers. It refers to the technique of sliding a chord (or chord tone) up or down chromatically, maintaining the shape and voicing of the chord. For example, F7 (F - A - C - E♭) could slide up to become G♭7 (G♭ - B♭ - D♭ - F♭). Each note has been "planed" up a semitone.

Planing is often used by jazz arrangers to reharmonize melodic passing tones which, if voiced as a vertical sonority, might clash with the prevailing harmony in the progression."


EDIT: Oops, sorry, didn't notice how old the question was.

Planing - courtesy of Wikipedia

"Planing is a reharmonization technique used by both improvisers and arrangers. It refers to the technique of sliding a chord (or chord tone) up or down chromatically, maintaining the shape and voicing of the chord. For example, F7 (F - A - C - E♭) could slide up to become G♭7 (G♭ - B♭ - D♭ - F♭). Each note has been "planed" up a semitone.

Planing is often used by jazz arrangers to reharmonize melodic passing tones which, if voiced as a vertical sonority, might clash with the prevailing harmony in the progression."


EDIT: Oops, sorry, didn't notice how old the question was.

Thanks, everyone! :) I didn't find anything on planing at the time.

I think I use plaining TOO MUCH. XD

I just found a most excellent arrangement of a very, very old Swedish folk song on Youtube.

http://jp.youtube.com/watch?v=jH4aHQTEClk

Lyrics:

Who can sail without wind? Who can row without oars?
Who can part from a friend, without shedding a tear?

I can sail without wind. I can row without oars.
But not part from a friend, without shedding a river of tears.

Anyway -- to you people who compose for choirs, why not write something as beautiful as this simple, yet elegant piece of art?

That's really pretty. I wouldn't have described it as simple, though...

I think he meant simple as it is straight forward, and not bouncing off like you're "trying" to hear the music.

That's a great piece; very flowing and rich in harmonies with it's texture is to DIE for. :)

Very true. That's why I love choral music...

OK. I need some help with Guitars...

1. When you strum a guitar, what are the intervals between each string (assuming you openly strum it).

2. I'm trying to write a riff (I guess you'd call it that) on like an F major chord with a rhythm like this...

http://i66.photobucket.com/albums/h255/porschegtiii/untitled-4.jpg

...with a strum on the first beat. I can get the first strum using the piano roll notation style on my DAW, but the rest just doesn't sound natural. And also I'm not sure how to enter the notes into the piano roll because I'm not sure of the intervals one would use when you'd strum an F Major chord.

Hm...? If you do it openly then it's E-B-G-D-A-E.

Yeah yeah. But the intervals. Is it the next B after the E?

EDIT: And I guess another question I have is does a guitarist when playing such a rhythm strum all the strings?

It depends, actually. Some chords (like E major) all the strings are either E G# or B, so you can strum all of them. But others, like D major, you can only strum a few strings.

It is better to study the chord charts. They're very easy to find on the net.

maybe im missing something x.x dont beat me if im being stupid. anyways guitars are tuned to EADGBe.....assuming your tuned to standard guitar tunings.
And like mazeppa said, some chords could only require 3 strings, equivalent of a triad on a piano. There are different positions and such so an f chord really ranges from play on a guitar.
http://www.8notes.com/guitar_chord_chart/F.asp i provided some linkage to a chord chart. courtesy of 8notes.com. you'll notice the different ways to play it.
I hope this helps and i don't look like a complete moron.

Yes, this all helps! Now my other problem is how can I produce a realistic sound of someone playing that pattern (I changed it).

Hmmm, im not sure how you would go about doing that on finale (assuming you're using finale). In the attachment i attached, is that what you want it to sound like? ~dont beat me

Not really. The first beat was right, the rest also needs the rest of the chord too. I'm using FL Studio by the way.

Kinda like this?

No... something like this except with my rhythm and accenting beats two and four. http://www.youtube.com/watch?v=kq8x34Qe48I

I kinda get what you're saying now, but i try and see if i can do that. But i cant make any guarantees :/

Thanks dude! That would be an HUGE help!

This is what i could do, let me know if im still failing and ill just give up -___-
this is hard. i couldn't get the accents in or try and make what you were thinking so i just came up with maybe a somewhat general idea of what you want

Hi, everyone; I haven't been on for a bit of time, and I'd like your opinions on this: would a thread on harmonic devices do any good? (Discussion on devices, uses, possible ways to harmonize melodies, tips and tricks, etc.)

Yes, actually. We need more threads that we can all read and bounce ideas and techniques off each other. Just one "Composing General Chat!" is useless, because there is so many things that are spread out. This is why I originally set-up the Orchestration thread, but.. woe is me.. it can't be stickied and be used as a good tips and stuff thread. We need a couple of these threads.

Hmmm, could we possibly get a soundfont/vst plugin type request page going on

Yah, a harmony thread would be good, like Mazeppa's Orchestration thread. :>

Edit:

There is this page that have many soundfonts, you can use them in FL studio:

www.sf2midi.com/

I have saw another but can't remember them.

This is what i could do, let me know if im still failing and ill just give up -___-
this is hard. i couldn't get the accents in or try and make what you were thinking so i just came up with maybe a somewhat general idea of what you want

Closer, but no. After doing some more research, I found that the best thing to do is go to a guitarist and let them have their way with it. Thank you for all your efforts though!

:O aww, i suck. but yeah im a guitarist :D

:O aww, i suck.

No no!

I mean that it's better/easier to do a live recording with a guitarist actually improvising along with the track. :P

I found a great tutorial on YouTube to make more realistic guitar strokes and muting. http://www.youtube.com/watch?v=PImC21_2HyU&fmt=18

Does anyone here know of a good software where you can work with microtonality? And does anyone here know of good examples of microtonal pieces?

Microtones is frequently used in middle eastern music as I hear from my friend who's an afghan. If you are looking for a program for notational purposes, I hear notability offers microtonal notations via different music fonts. I'm not sure if the program's play back will actually be able to play what you hear in your head though. If u just want it for a cool sounding gliss then many sequencers and sound maker softwares can do it. You just mix in the sound to your existing mp3 of your song and it should be fine. These programs tend to sound more digitized in my opinion though.

Ever since my music program broke down, I've resorted to writing my music by paper and pen. Which is fine for when I compose piano solos, but not if I want to add more instruments (I can only concentrate on so many voices/lines at a time). Are you guys as dependent on your computer programs as I am?

Are you talking about Score Reading, or even the ability to hear and then be able to write a score for multiple instruments without the help from Finale/Sibelius's organized sounds and what not? I am able to write on staff paper just fine, with a lot of instruments, but I choose not to, because it just takes up more paper and I hate the act of writing out a bunch of rests or what have you.

I don't rely on computer programs, but I prefer them.

It's much easier to get it out on a program IMO. Not because of the playback, but because of how fast it is to get a neat and legible score. Whenever I use paper/pencil, the idea runs away from me because I take too long when I try to write everything out, whereas I can type or click notes in quite efficiently.

Except I hate using them on laptops. While I'm on the go, I have to use pencil/paper to sketch out ideas.

Most of my ideas stay in my head. Or stay in my hands playing them in the piano. It have been months that I have no used a notation software, due troubles I have been having with my PC (Still waiting the new one...).

When I write on the paper is mostly a piano arrange of what I have in mind or a compressed score. I dislike to assign a staff for each instrument. A) because will consume more paper. B) Will waste more paper when some parts of the score may not be necessary. C) Later I can expand my idea when I go to my sequencer or if is planned to present a full score in Finale. I just need down the parts I think are important; the rest I add it later or makes small notes behind the paper of what I want(In case I forget something).

At Kaitoukudou: I am after a software that can let me to compose in micronotality. Not to notate, but to get the sound for make a short piece. I am having a hard time recreating in my mind music like that. I have no heard enough examples of micronotal music and I would like to give it a try. I already found a free software but I could not install it in my PC. Also I would not care if the synthetic sound is a crap.

Are you talking about Score Reading, or even the ability to hear and then be able to write a score for multiple instruments without the help from Finale/Sibelius's organized sounds and what not?

I was mainly talking about writing down music for many instruments and then having a program play it back for you so you can hear what it sounds like. For instance, I could never ever write an orchestral piece on just paper and pen; I'd need to hear how it goes and a computer program would be invaluable for me. (On the other hand, I can write a piano solo by hand just fine.)

EDIT: I'm currently composing a toccata . . man, it's much easier writing simpler, slower-paced pieces.

I was mainly talking about writing down music for many instruments and then having a program play it back for you so you can hear what it sounds like. For instance, I could never ever write an orchestral piece on just paper and pen; I'd need to hear how it goes and a computer program would be invaluable for me. (On the other hand, I can write a piano solo by hand just fine.)

I have never had this problem because I usually write my orchestral pieces on a piano. I just use it in orchestral terms, so the results on the paper is 90% what I wanted to hear from a particular instrument.

But when you write orchestral pieces, you end up with many instruments and lines. How do you keep track of it all? What if you have all these melodies and counter-melodies playing at the same time?

It's physically impossible but you have to take the core of your orchestral piece. It's like doing a reverse transcription of an orchestra piece. When you are doing an orchestra-piano transcription you cut some parts, while when you are doing a piano-orchestra transcription you add some parts, but what's important, the core of your composition, it's always the same. Also when we're talking about many lines of melody, like in baroque music, I look separately at each section: first keyboard, strings, brass, percussions... Of course the most important thing is that you must have an idea before writing it and you must sing it in your head even when you play different things. This is how I usually proceed.

And I like to make sure it all fits together. I will have that separate voice in mind, but I almost HAVE no hear it with the other things going on. It's kind of a mixture of both in that speedy mental process.

if it was simple harmony melody piece then its actually not as hard as you think. Once you've heard the different sounds of the instruments on its registers you start to know what it would sound like together. I don't think I would be able to write one that's complex though. As in, unfamiliar chords, A-tonal, ect. However, I think once you've written enough of them, you will just tend to know what it sounds like in your head. you'll be able to hear the orchestra as one instrument just like a piano.

Well, personally I like being in complete control when I compose. I like knowing at every point what everything sounds like, especially when the music is complicated and messy. This way, I can think less about keeping track of everything and concentrate more on figuring out where I want my music to go.

So...I'm not gonna lie, I'm really freaking out about this whole contest thing...

Be patient, I know it have been 1 week but well... what else can we do? lol There was once a competition that the review process took a long time.... and was mostly because each of the reviewer were busy with their own stuffs.

Don't be too hasty, just relax lol. Whether you spend your wait time relaxing or all worked up, its still the same wait time. :P

lol, I know. It's not like consuming me or anything, but I'm just really excited to find out who wins!

Noir won

Nah, but I'm reviewing the entries right at this moment actually. Well, not *exactly* this moment since I'm currently typing this sentence. That reminds me, why am I wasting time writing pointless posts in this thread about something that I'm supposed to be doing when I clearly cannot do both at the same time.

So, back to work everyone. I mean, me.

wOOt!

Maybe nobody won. It was also specified in the rules. Remember? ^^"

True. However, I think the quality of work entered was much too good for no one to have won.

Don't you guys hate when you jump from a piece to another without even have finished any? Today I am worst than a kangaroo.

Yes. I am always starting a new piece but rarely finishing one.

Days ago I found this tutorial that I think it can help anyone that want to make good triplets and change tempos in FL Studio:

http://www.cjmmachinery.com/FL/

I am happy I know how to change tempo now. =) I think many people are confused on "writing" triplets in the piano score, because they may not have the musical background to understand how it's subdivided in the beat.

You see a lot of that stuff at globalhardstyle and such. :\

Something I've been trying to figure out: why, if the tonic is used as a pedal, will the ii4-2 half-diminished chord (in major mode, you'd be borrowing a chord from the parallel minor) seemingly gravitate back towards the tonic?

Edit: after experimenting a bit, it seems the normal ii might have the same property, but it doesn't seem to have quite the same gravity.

Don't you guys hate when you jump from a piece to another without even have finished any? Today I am worst than a kangaroo.

Yes sure I currently have 5 tunes partly done... things just come out right ? then you spend time tying to work out how to proceed. Currently not submitting much until I have got it all down on the keyboard live... which will take some time :)

Something I've been trying to figure out: why, if the tonic is used as a pedal, will the ii4-2 half-diminished chord (in major mode, you'd be borrowing a chord from the parallel minor) seemingly gravitate back towards the tonic?

Edit: after experimenting a bit, it seems the normal ii might have the same property, but it doesn't seem to have quite the same gravity.

Have a look here :

http://smu.edu/totw/function.htm

Maybe give you a clue :)

I also found this article which is very technical but a lot of help:

http://www.harmony.org.uk/chord_progressions_in_tonal_music.htm

Some of the feedback I have had is to let go a little and free up the harmonies that I write ... hence I am back to the keyboards to see what I can find to complete some work.

i.e. I am working on creating music rather than just writing it.... Zzzzz

...but I think using some theory does help to speed up the composing part as against just copying someones elses music and modifying it.

Is it just me or is heavy or strong music easier to compose than soft romantic music ?

I can write something heavy in an hour or so for fun but it takes many days to do something romantic.

I think it must be me right ? my frame of mind ? or ?

Hey, thanks for the help, but you should try using the edit button. Triple posting is not usually smiled upon by the mods.

Anyone here read Messiaen's Technique of my musical language?


Also... I found this nice website dedicated to music stuffs:

http://www.musicroom.com/

Haven't read it, but I am a fan of his works. I might pick it up sometime, thanks. :)

Anyone here wants to help composing music for our doujin game? ^^;

You have to give more information if you want to call the attention of other composers. Like screen shots, what about is the game, what kind of music, if is a freeware(I guess it is).

There's one being made by a group of people here at Ichigos... :shifty:

This is the leading lady.
http://fc06.deviantart.com/fs44/i/2009/120/a/c/For_Kasumi__Akaiko_by_chibi_lolita_riku.jpg
We are only in the initial state and I don't want to look for a composer only after all had been finish and wait for them. ^^;

We'll do the illustrations and the composing the BGM at the same time.^w^

The genre is properly horror, fantasy, mystery and romance.
Kasumi-san is still writing the scenario, so we will have to wait for her a lil while. ^^;

There's one being made by a group of people here at Ichigos... :shifty:

SHHHHH!!!!!!!!!!!!!!!!!!!!!!

Yay for making this more obvious.

This is the leading lady.
http://www.mangabullet.com/art/78950
The genre is probably Horror, Mystery and Romance.

Anyone interested?

I sent you a pm but incase u didn't see...I'll do it if you'd like Riku.

Is it just me or is heavy or strong music easier to compose than soft romantic music ?

I can write something heavy in an hour or so for fun but it takes many days to do something romantic.

I think it must be me right ? my frame of mind ? or ?

It's the opposite for me haha.

I can generally do anything stereotypical other than jazz and blues in a very short time. For songs, lyrics take longer to write than the music. I can make music represent almost any scene or emotion in its most recognized form. That's also my biggest problem. I have trouble creating things that sound truly original. Alot of my pieces sound like other pieces, as people tell me. I use other pieces to mimic and study them sometimes but even when I'm not doing this, my songs tend to sound "generic". I do have a theory though. I never forget a melody once I've heard it even though I may forget ever hearing it. So when I write some "new song" maybe the melody that comes to me are derived from those forgotten tunes i heard 5, 10 years ago.

Does anyone else have this problem? Anyone wanna give me some suggestions on how to overcome it?:sweat:

If you feel that your melodies are generic and derived from other pieces, try to look at your music from all sorts of different angles and perspectivies. Then do what you can to make it sound different (shake off the previous sounds in your mind). You'll need to push yourself to change it into something completely new by making a conscious effort . . I apologize if I'm not making sense, since I'm having a hard time describing what I mean.

I can generally do anything stereotypical other than jazz and blues in a very short time. For songs, lyrics take longer to write than the music. I can make music represent almost any scene or emotion in its most recognized form. That's also my biggest problem. I have trouble creating things that sound truly original. Alot of my pieces sound like other pieces, as people tell me. I use other pieces to mimic and study them sometimes but even when I'm not doing this, my songs tend to sound "generic". I do have a theory though. I never forget a melody once I've heard it even though I may forget ever hearing it. So when I write some "new song" maybe the melody that comes to me are derived from those forgotten tunes i heard 5, 10 years ago.

Does anyone else have this problem? Anyone wanna give me some suggestions on how to overcome it?:sweat:

Well I still have the same problem. Running Home was a classic example of that haha. I listen to my idols and I imitate (sometimes accidentally) their styles. What's happening though is that through listening to my influences, they're blending together now to become something original. Same thing happened to Bartok haha. Maybe the answer is time and output? Who are your influences?

my fundamental influence comes from the music Richard Clayderman plays. About 10-12years ago, my friend got me one of his "piano-kareoke" cd for me as a gift and it was just the greatest thing. Playing piano with the orchestral recording in the background was the closest thing i was going to get an orchestra to accompany my playing lol. Shortly after that I got interested in writing music. Call it a destined first step, I wanted to MIMIC his style. I'd say my first attempt was a fairly decent one. Very very simple, now that I think back but it did sound...ballade-ish.

Other then him, I really don't know where my influences are from. I like writing game music but my influences didn't come from FF like most other people. I never liked final fantasy due to trama as a kid who couldn't beat the first boss and decided it was the worst game ever lol. It wasn't until couple years ago after hearing all the fuss about how it has the "Greatest music ever" that I finally gave it a shot. I did think it sounded good but I didn't see what the fuss was about. Played a couple...probably only learned about using the minor fourth from Tifa's theme or something and that was about it.

I despised contemporary music and everything made after 1900 outside of popular culture until I was forced to take a course in it last semester. Stravinsky was probably the only guy I ever paid any attention to cause we played his firebird in band and i thought it was cool.

I do see what you mean about blending of composers kevin. I've noticed it in my pieces although I find it more of a blending of what I found nice in past melodies I've heard more than the composers' stylistics.

...Well...enough about myself, I've said too much:P Anyone else care to have a comming out so I don't have to feel like a loner :heh:

Does anyone have a great trumpet section virtual instrument or sample? I'm using the samples with Symphonic Orchestra Gold and he trumpets are nice, but not quite the sound with looking for:too buzzy. I'm looking for something more sharp and piercing but with the same realistic quality.

Take a look here: http://www.samplemodeling.com/

probably only learned about using the minor fourth from Tifa's theme or something and that was about it.

There is no such thing as a minor fourth. What on earth did you mean?

He reinvented music! Brilliant!

*Cracks open a Guinness* :drinking:

HAHA....

Minor iv chord....:sweat:

I think a bunch of us should enter this contest:

http://chanticleer.org/0809StudentComposerCompetition_PR.htm

Wow, that's an interesting competition. Thanks for the notice. Choral music is your specialty right? Too bad its not mine but I think I will still give it a shot. :lol:

DO IT. XD

4. Composer must be enrolled as a High School or College student at time of submission

I can't! :cry::cry::cry:

You're not a student? Quick! Enroll in an online university! :P

It is specified High School or College...Am I doing a mistake? Yes, I did.

Yeah, in the US "College" and "University" are virtually synonymous.

Sorry to double post, but I really wanted to express this because I thought it would help show where I'm coming from as a musician. This is in response to Porsche's comment about a composition being fulfilled by its being performed:

As a composer, one of the most gratifying experiences imaginable is that of having a respectable ensemble perform your music. For one, it makes the composer feel that his/her composition is finally completed (even if he/she still edits it after all of the performances); there’s something about having a live group of living, breathing musicians which really brings the music to a whole new level. This is especially true of choral music. In fact, I learned new things about my own piece which I had never realized before each time I worked with a different choir on O Nata Lux. To me, this is irrevocable proof of divine intervention; I know that I am not smart enough to make a piece that complex without help (although this is, perhaps, a whole different can of worms).

Furthermore, the fact that the musicians respect your music enough to perform it with all the emotional impact in their arsenal is one of the most validating experiences possible. I think that, although it should not necessarily be your only goal in writing music, having the initiative to put your music out there is definitely worth it.

I am not trying to be arrogant, but if anyone has any questions about anything relating to the performances which I have received or the experience thereof, feel free to ask.

I agree with you completely. A few months ago, live musicians and singers performed my "Llife and Death" on stage in Yokohama, which was simply amazing. It kind of sparked the ambition of getting all my upcoming compositions to be played live. And I think it's something that composers should have in mind while composing music.

Definitely agree, there is something magical about a live performance of one's own music (I once remember freezing, my heart skipping a beat). I think we should all aim one day to hold full-length concerts of our works.

We should one day have a concert of Ichigo's works. XD

I agree with you completely. A few months ago, live musicians and singers performed my "Llife and Death" on stage in Yokohama, which was simply amazing. It kind of sparked the ambition of getting all my upcoming compositions to be played live. And I think it's something that composers should have in mind while composing music.

You didn't tell me that! That's so awesome! Any video of it?

I think having live musicians and being there in the moment they are performing it create a whole effect that makes us feel the music closer to us; more connected to it, more 'human'. And we being composers makes us feel proud and good of our works being performed and contemplated by others.

I agree with you completely. A few months ago, live musicians and singers performed my "Llife and Death" on stage in Yokohama, which was simply amazing. It kind of sparked the ambition of getting all my upcoming compositions to be played live. And I think it's something that composers should have in mind while composing music.

Yeah, I want to see it to. That one's one of my favs.

I wish I could have a description of what each piece of yours is important and then a recording of what other people interpret it as.

Rephrase:

Write me what you feel about your piece. Give me a recording of an ensemble performing that piece you wrote about.

That's a good idea, having members performing/recording their interpretation of other members' pieces. That's been done here before, but not on a regular basis or larger-scale. :think:

I wish I could have a description of what each piece of yours is important and then a recording of what other people interpret it as.

Rephrase:

Write me what you feel about your piece. Give me a recording of an ensemble performing that piece you wrote about.

If you would like to see a recording and a description of what I feel about the piece, you can go to my website. The piece is "O Nata Lux"; there are links to both that have been posted for quite a while. You can listen to any/all of the recordings there.

I agree with you completely. A few months ago, live musicians and singers performed my "Llife and Death" on stage in Yokohama, which was simply amazing. It kind of sparked the ambition of getting all my upcoming compositions to be played live. And I think it's something that composers should have in mind while composing music.

Ahh mad! How did you get your work performed? Was it through Uni? Did you get the original singer?

No no, it was sung by japanese singers (in japanese) and performed by a J-rock band, to whom i often work for as a composer. The lyrics were all changed to Japanese, but they were translated quite nicely.

I have a recording of it, along with more songs by this group, but they are on a DVD so I'm not to keen on uploading anything yet.

Life & Death ---> 生と死

No no, it was sung by japanese singers (in japanese) and performed by a J-rock band, to whom i often work for as a composer. The lyrics were all changed to Japanese, but they were translated quite nicely.

I have a recording of it, along with more songs by this group, but they are on a DVD so I'm not to keen on uploading anything yet.

Life & Death ---> 生と死

Wow. I'm so happy. I can actully read the kanji! haha. That's really cool. Do they have a website?

Yeah, I only remember the old recording in a distant memory.. is that recording of the performance available anywhere?

Which one? If you mean the old original one it's on my soundlick page: http://www.soundclick.com/bands/page_music.cfm?bandID=723256

The live recording is just too big to upload, I'll see what I can do about it.

That Zee wee song is nice. I liked the simplistic piano, it was used very well in the song.

The structure and the style reminds me of Bohemian Rhapsody hehe. It's really cool.


Which one? If you mean the old original one it's on my soundlick page: http://www.soundclick.com/bands/page_music.cfm?bandID=723256

The live recording is just too big to upload, I'll see what I can do about it.

That would be great to see. Did you play piano with them?

Damn I love that song. Thanks for posting the linky *bookmarks* Another thing, I've been meaning to say this for a while, Noir7 you're definitely one of my favourite composers! :)

Damn I love that song. Thanks for posting the linky *bookmarks* Another thing, I've been meaning to say this for a while, Noir7 you're definitely one of my favourite composers! :)

You probably just made his day haha:P You are great Noir7! But where's some recent stuff!? Get permission from your company somehow to show newer things!

Hello, can anyone do me the favour to listen to this piece and tell me if the kick sounds too loud, too low, or balanced with the rest of the track in your speakers?

I am working in this piece and many parts come totally different in other speakers I use for test. Whiles in the ones I am using for work, sounds balanced.

This is just a very short clip because the piece is not done and my internet is extremely slow downloading and uploading (Dial-up).

I think the kick is fine, and the piece sounds REALLY cool :P

Ooh, nice :) Overall balance sounds fine to me, although I'd like the orchestra hits to be louder. It might just be a personal preference, though. Oh, and that thingy that comes in ~0:12-13 (that thing that moves down) is too soft with my speakers, too.

Sounds pretty good with my trusty 200-yen earphones ^_~

Haha. Reminds me of when a Youtube Vblogger called Tokyo Cooney makes a trip to the "100 yen crap shop" haha. I never knew you could get imitation oreo's for 100 yen :P

Three comments saying is balanced. I guess it is, haha. Still I would like to see more comments about the kick. Here in one speakers sounds weak the bass and in others sounds so loud!

Thank you for the comments!

I am working in this piece and many parts come totally different in other speakers I use for test. Whiles in the ones I am using for work, sounds balanced.

I know what you mean. I get a similar problem when I listen to music on my desktop, laptop, and iPod. They all sound different! The same when you change what headphones you use. XD


Haha. Reminds me of when a Youtube Vblogger called Tokyo Cooney makes a trip to the "100 yen crap shop" haha. I never knew you could get imitation oreo's for 100 yen :P

Ha. I subscribe to his video's too.

Question:

How many of you here have read "Structural Hearing: Tonal Coherence in Music (Two Volumes Bound As One)" by Felix Salzer? I'm reading it at the moment and am very interested in the perspective that it presents on music and how music is.

I haven't, but it sounds interesting. Care to share anything you've learned so far?

I haven't, but it sounds interesting. Care to share anything you've learned so far?

Sure.

To start, I must note that I have not studied any Baroque/Fugal counterpoint at all and that I have not finished this book (I'm still on the first part :heh:). Apparently this book was based off of the works of Heinrich Schenker (whoever he is).

Anyway, about the book, from what I am getting from this, this book presents a new way to look at analyzing music. In the intro, the author acknowledges that many composers and musicians find the typical way of analysis is insufficient in terms of how the music works. Sure, we can say that there's an I chord here, a IV chord there, and all of that, but that does not help to tell what the purpose of each chord is and what the chords have to do with the motion of the phrase. The author repeatedly refers to a passage of music as an "organic whole" and gives a new perspective on analysis, calling it "chord significance." Such techniques are introduced such as "chord prolonging" and "chord structure," starting with Bach's music.

I have never studied Baroque counterpoint at all and I found this idea to be quite impressive when applied to Bach's music. What the author does is take apart a passage and discuss the significance of what is in that passage.

(I am still in the first part of this, so I have yet to get far enough to understand it fully. :heh:)

Wow, sounds very interesting...

I've actually known about Schenkerian analysis for some time now, but I haven't studied it before. Perhaps I will in the future, as I own a few books on it that were given to me by my former French teacher (who originally wanted to major in it).

There's an interesting article in one of the books that concerns Chopin's Fantasie Impromptu. As some of you may know, Chopin never wanted that particular piece published, but we don't know why. However, the author of the article thinks that this was because of Chopin's great respect for Beethoven. Using Schenkerian analysis, the author compared that piece to the third movement of Beethoven's Moonlight Sonata and was able to find many similarities. Apparently, Chopin used that movement as a model for his own piece. However, it appears that he didn't want it published as it wouldn't have been right due to those similarities (even though it wasn't plagiarism). This shows you what excellent moral standards Chopin had! And this also shows you the power of Schenkerian analysis.

I may try to find the book to read it. I find it interesting.

Also I remember Thorn once posted here a passage from Chopin's impromptu fantasy and Beethoven's moonlight sonata (third movement) that had the same exact notes.

Now that I think of it, I vaguely remember learning about it in AP Music Theory in High School...only a very little bit, though. I remember it basically involving reducing chord progressions to more basic chord progressions (Such as if you had the progression I-IV-ii-V-I it would be analyzed more like I-V-I or something like that. From what you guys say it sounds so much more elegant and complex, though...

Harmony is an important part of composition. Here in Italy, when you choose to study composition you must attend the "Harmony and Composition" course. You cannot separate them because music develops both horizontally and vertically.

...well yeah, obviously, but what does that have to do with Schenkerian analysis? Anyway, here we just call that course "Music Theory".

I found a video on youtube that I really like that I want to show you guys. http://www.youtube.com/watch?v=22UqSBuUzcw

Hi, everyone;

I have a question for all of you: what is the best way for you to compose? Using an instrument, relaxing, etc...

I've kind of figured that for me that composing using the computer is obsolete and does not work for me out in the long term (although, there are the very rare times I get something very nice written out). I'm better composing when I play my clarinet or when I play a piano (unfortunately I don't have one yet xP).

--------

Out of this, I basically want some ideas for inspiration since my composing life usually goes like this: I have nothing (worthwhile) written for a very long time, and then, at some random point, I get a really nice piece out (e.g. the Satirical Suite), and then I fall back to not having anything written (which is where I am now). Plus, I've mostly composed out of the computer and rarely use my clarinet to compose (I'll probably get back to playing my clarinet on Monday).

For me, I usually need a full-blown concept to work with beforehand--not necessarily a melody or anything, just an idea for how I want the piece to progress and what I want it to accomplish--which I have thought through; I come up with some nice ideas when just playing around on the computer, but those ones don't usually go any farther than just being random idea fragments. I don't use a piano, for the most part; my best ideas come from my head and then are put directly on the computer.

I either compose while walking/pacing or while improvising on the piano. It's easier for me if I can stumble upon a good idea or story, because it helps me to figure out how the music should go (similar to deathraider needing most of the concept worked out first). Also, I come up the melody and harmony simultaneously, as I believe they are strongly dependent on each other. In fact, when I hear a melody in my head, it comes with the harmony, so I am unable to separate the two even if I wanted to.

Oh yes, finally I found again this page. For lovers of 8-bits take a look here: http://www.ymck.net/english/download/index.html enjoy!

It's mostly ideas to sequencer or improv to sequencer haha. I rare use notation first haha

Edlt: Nyu001 I LOVE YOU!

So I was looking today at the website of the Vancouver Chamber Choir, and noticed they have a Young Composers' Competition. After that I started searching for other Young Composers' Competitions and I found a TON (unfortunately most of the deadlines for this year's competition have passed), and I was thinking it would be cool if this next year, a bunch of us picked a specific competition and entered it. One like this one (http://www.nyae.org/Pages/page11.html) would be cool (it actually has a cash prize of $1,000), although maybe one that is slightly less high-profile might be more realistic. Also, if anyone else notices a competition like this, make sure to post it here on Ichigos so the rest of us can partake!

There is one page in the internet that has link to other pages with competitions internationally. The mostly you see there are contest for compose chamber music, piano music, choral music, quartets, etc. some has money and perform prize. I will see if I can find it later this week.

Well, this tutorial's not written by me, but I found it at an RPG development site. It was supposed to help people compose music for their RPG's. Some people here might find it useful. It goes from basic scales and chords, to intermediate stuff like gypsy scales, blues scales, sus2 and sus4 chords, etc etc.

I've attached the file to this post because the site with the tutorial isn't working for me. I hope you can open *.doc files.

Nice bike. you cant even see it.

You do realize that it's been 4 years since that guy posted here; obviously the link in his sig is going to be outdated. What on EARTH was your point?

Here is the the site I mentioned in my previous post: http://www.cmc.ie/opportunities/competitions.html

Thanks! We should pick one and enter it, then.

Thanks for the link. A few of them sound very interesting.

Hmm... I have another subject on which to ponder.

There is obviously no "right way" to compose. However, ever since I started using chromatics (excessively XD), I've noticed that most of the chords I use are indescribable in theory (meaning, I can't go ahead and analyze my pieces and say that there's a major chord here, minor chord there, I here, IV there, etc.). Should this be a concern?

No, but there's probably still a way to analyze them, you just haven't learned about it yet, right?

interesting conversations. and hais.

Hmm... I have another subject on which to ponder.

There is obviously no "right way" to compose. However, ever since I started using chromatics (excessively XD), I've noticed that most of the chords I use are indescribable in theory (meaning, I can't go ahead and analyze my pieces and say that there's a major chord here, minor chord there, I here, IV there, etc.). Should this be a concern?

There is virtually no chord undescribable for music theory. I guess it should be a concern depending on the music style you're working.

I discovered today that if you use the "common tone transposition" plug-in on Finale, the results can actually be pretty interesting. I entered an Ab(add 9) chord for the starting chord, and it pumped out this progression (which I smoothed over so that the harmonies were more audible and so there was a bit smoother voice leading throughout. Not sure what to think of this...:huh:

That's cool. I'm going to try that when I get back later! :lol:

will it give you that progression for that chord every time? or is it randomly generated?

I dunno.

I find it very interesting... (I don't think it's random; I got the same progression twice.)

You guys haven't played around with all the cool tools in Finale yet? Try the Band in a Box Auto Harmonizing tool. It can be awesome if you know which one to use.

Nope, I haven't played around with them, because they confuse me! lol

So a fun idea came to my mind just now. I hope that we're able to at least give it some thought (it's fresh.. just 20 seconds into the thought process myself).

Here's my proposal:

Everyone of Ichigo's composers play a principal instrument, correct? Correct. What if we made a "secret-Santa" list of people with their main instruments attached. Somebody else would get an assignment of somebody and their instrument and would have to write a solo piece for them. For example...

Mazeppa --- Piano

*assignment stage* (Random name)

Deathraider will be writing a piano piece for Mazeppa

End of example. Alright, so, you might be wondering what we would do at this part. Sometime in the future, the person should record themselves playing this piece. To ADD to the mix, the composer of the piece will post NO RECORDINGS AT ALL. This will give us the chance to leave the interpretation of tempo and stuff up to the person.

Think of this little idea as a chance for the composers to write for an instrument, and the chance for performers to play works by a modern composer.

So, time for you all to pick it apart. :D

That is a freaking awesome idea!!! I am SO in!

So a fun idea came to my mind just now. I hope that we're able to at least give it some thought (it's fresh.. just 20 seconds into the thought process myself).

Here's my proposal:

Everyone of Ichigo's composers play a principal instrument, correct? Correct. What if we made a "secret-Santa" list of people with their main instruments attached. Somebody else would get an assignment of somebody and their instrument and would have to write a solo piece for them. For example...

Mazeppa --- Piano

*assignment stage* (Random name)

Deathraider will be writing a piano piece for Mazeppa

End of example. Alright, so, you might be wondering what we would do at this part. Sometime in the future, the person should record themselves playing this piece. To ADD to the mix, the composer of the piece will post NO RECORDINGS AT ALL. This will give us the chance to leave the interpretation of tempo and stuff up to the person.

Think of this little idea as a chance for the composers to write for an instrument, and the chance for performers to play works by a modern composer.

So, time for you all to pick it apart. :D

Anybody else? I really this this would be fun :D

Anybody else? I really this this would be fun :D

Same here. :D

i third

lol think* this would be fun. I'm awesome.. XD

what if somebody doesn't know how to compose properly a certain instrument :think:
Or if somebody plays several instruments?

If somebody plays many instruments, they'll just have to choose one that they want to have it written for. I play the Trombone and the Piano, but I'd rather choose the Piano for this project.

If somebody does not know how to write for the instrument, then I suggest they find resources on doing so if they even wish to enter into this project. I suck at writing parts for Organ, so I would seek out and learn a little about the Organ for example.

Berlioz-- Treatise on Instrumentation is a nice guide :D

Sounds like a fun learning experience to get to know about different instruments. :O lets do it!

I was going to post this in mazeppa's thread, but is better here. I found this months ago in the internet and saved it as reference. I think maybe can help other composers here.

Audio Frequency Ranges

50Hz

Boost: To thicken up bass drums and sub-bass parts.

Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'.

70-100Hz

Boost: For bass lines and bass drums.

Cut: For vocals.

General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.

200-400Hz

Boost: To add warmth to vocals or to thicken a guitar sound.

Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion.

Boost or Cut: to control the 'woody' sound of a snare.

400-800Hz

Boost: To add warmth to toms.

Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds.

General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.

800Hz-1KHz

Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum.

1-3KHz

Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting.

Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part.

General: This frequency range is often used to make instruments stand out in a mix.

3-6KHz

Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.

Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix.

6-10KHz

Boost: To sweeten vocals. The higher the frequency you boost the more 'airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to:

Bring out cymbals.

Add ring to a snare.

Add edge to a bass drum.

10-16KHz

Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.

Specific Musical Instruments

Vocals

General: Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.

Treat Harsh Vocals: To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.

Get An Open Sound: Apply a gentle boost above 6KHz using a shelving filter.

Get Brightness, Not Harshness: Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right.

Get Smoothness: Apply some cut in a narrow band in the 1KHz to 2KHz range.

Bring Out The Bass: Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range.

Radio Vocal Effect: Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.

Telephone Effect: Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.

Hi-Hats

Get Definition: Roll off everything below 600Hz using a High Pass Filter.

Get Sizzle: Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right.

Treat Clangy Hats: Apply some cut between 1KHz and 4KHz.

Bass Drum

General: Apply a little cut at 300Hz and some boost between 40Hz and 80Hz.

Control The Attack: Apply boost or cut around 4KHz to 6KHz.

Treat Muddiness: Apply cut somewhere in the 100Hz to 500Hz range.

Guitar

Treat Unclear Vocals: Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix.

General: Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz.

Acoustic Guitar

Add Sparkle: Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth.

Holy shit. *Copy and pastes into Microsoft Word*

Thanks man. That'll help me with my own sound engineering on mixing random stuff at Guitar Center. I didn't know which frequencies did EXACTLY what to WHAT, I just went off my "orchestral" ears. Again, this shall help me a lot more. :)

Dude, thanks very much for the post! Trial and error and presets were giving me OK results, but this should help immensely! Thanks Nyu001!

Don't forget that those things can variate a lot with pieces. What can work in one won't work in another. But still that info is good as reference for a start then to explore from there! :D

Another great thing to go along with that information if you are a user of FL Studio. Use The Parametric EQ 2. In this EQ, it shows you what frequencies are coming through, letting you to be able to visually "see" the sounds better and thus gives you more control of your filtering.

And has pleasant colours! (I had to say that, I love to look at it, lol).

Back tracking a bit here...

I discovered today that if you use the "common tone transposition" plug-in on Finale, the results can actually be pretty interesting. I entered an Ab(add 9) chord for the starting chord, and it pumped out this progression (which I smoothed over so that the harmonies were more audible and so there was a bit smoother voice leading throughout. Not sure what to think of this...:huh:
What on earth is that progression? Ab9 to...?! Are those in inversions or just root position chords? That's amazingly chill... totally gonna use that >_> lol!




So a fun idea came to my mind just now. I hope that we're able to at least give it some thought (it's fresh.. just 20 seconds into the thought process myself).

Here's my proposal:

Everyone of Ichigo's composers play a principal instrument, correct? Correct. What if we made a "secret-Santa" list of people with their main instruments attached. Somebody else would get an assignment of somebody and their instrument and would have to write a solo piece for them. For example...

Mazeppa --- Piano

*assignment stage* (Random name)

Deathraider will be writing a piano piece for Mazeppa

End of example. Alright, so, you might be wondering what we would do at this part. Sometime in the future, the person should record themselves playing this piece. To ADD to the mix, the composer of the piece will post NO RECORDINGS AT ALL. This will give us the chance to leave the interpretation of tempo and stuff up to the person.

Think of this little idea as a chance for the composers to write for an instrument, and the chance for performers to play works by a modern composer.

So, time for you all to pick it apart. :D

This idea.... I like it. Should totally do this sorta thing. Though We'd have to be careful what sort of "Secret Santas" are picked just to be fair. Like for example, me and Porsche are trumpeters... now wouldn't that be silly composing for each other?

Back tracking a bit here...

What on earth is that progression? Ab9 to...?! Are those in inversions or just root position chords? That's amazingly chill... totally gonna use that >_> lol!





This idea.... I like it. Should totally do this sorta thing. Though We'd have to be careful what sort of "Secret Santas" are picked just to be fair. Like for example, me and Porsche are trumpeters... now wouldn't that be silly composing for each other?

Not necessarily - you'd most likely still get two incredibly pieces, and a chance to see how a fellow instrumentalist might interpret your stuff.

Back tracking a bit here...

What on earth is that progression? Ab9 to...?! Are those in inversions or just root position chords? That's amazingly chill... totally gonna use that >_> lol!



I know, right? I think we should have a small contest to see who can come up with the best piece based on that chord progression. :heh:

Edit: Oh, and it sounds a LOT like Eric Whitacre's "A Boy and a Girl" (awesome song!) despite the fact that Finale wrote it, not me... lol

So a fun idea came to my mind just now. I hope that we're able to at least give it some thought (it's fresh.. just 20 seconds into the thought process myself).

Here's my proposal:

Everyone of Ichigo's composers play a principal instrument, correct? Correct. What if we made a "secret-Santa" list of people with their main instruments attached. Somebody else would get an assignment of somebody and their instrument and would have to write a solo piece for them. For example...

Mazeppa --- Piano

*assignment stage* (Random name)

Deathraider will be writing a piano piece for Mazeppa

End of example. Alright, so, you might be wondering what we would do at this part. Sometime in the future, the person should record themselves playing this piece. To ADD to the mix, the composer of the piece will post NO RECORDINGS AT ALL. This will give us the chance to leave the interpretation of tempo and stuff up to the person.

Think of this little idea as a chance for the composers to write for an instrument, and the chance for performers to play works by a modern composer.

So, time for you all to pick it apart. :D

I really like this!! I think we should give it a go.

I found this interesting contest that I thought you guys might find interesting: http://web1.dilettantemusic.com/content/digital-composer-residence-competition

I just took a look at SoundsOnline and I saw they are having a good save of 50%. If anyone interested here, I think this is the moment! Haha http://www.soundsonline.com/home.php Too bad I can't use my money. :cry:

The big downside of Monopoly-money =(

lol (no, really)!

Those VSTs are pretty badass, but damn...those are expensive. :eek:

Those VSTs are pretty badass, but damn...those are expensive. :eek:

I know! >< It's horrible

This is an awesome deal. http://www.soundsonline.com/Complete-Composers-Collection-PLAY-Edition-SAVE-67-pr-EW-189.html

The use you'd get from these instruments far exceeds the monetary cost of them. I really am thinking of buying it.

*drools*

If only I had a job...

http://ericwhitacre.wordpress.com/2008/12/06/advice-for-the-emerging-composer-part-i-notation/

Sorry for the double post.

I found this post today on Eric Whitacre's blog about the dangers of composing using software on a computer. I realize when it comes to electronic music this may not apply, but I was hoping to get a discussion going here about it. I personally am sort of dependent on my computer because I suck at improvisation. I'm sure with some of my university classes I'll get better, but I feel right now that I have to use Finale. However, I am also sort of afraid now that this is holding me back. Any opinions?

I got one word:

Amen.

This is an awesome deal. http://www.soundsonline.com/Complete-Composers-Collection-PLAY-Edition-SAVE-67-pr-EW-189.html

The use you'd get from these instruments far exceeds the monetary cost of them. I really am thinking of buying it.

I totally agree, but that still doesn't get rid of the fact that they are pretty damn expensive. XD With my luck anyway, they probably wouldn't work with the programs I use. :bleh:

I got one word:

Amen.

To what Eric Whitacre said?

http://ericwhitacre.wordpress.com/2008/12/06/advice-for-the-emerging-composer-part-i-notation/

Sorry for the double post.

I found this post today on Eric Whitacre's blog about the dangers of composing using software on a computer. I realize when it comes to electronic music this may not apply, but I was hoping to get a discussion going here about it. I personally am sort of dependent on my computer because I suck at improvisation. I'm sure with some of my university classes I'll get better, but I feel right now that I have to use Finale. However, I am also sort of afraid now that this is holding me back. Any opinions?

I started off using Finale exclusively to compose, then afterward, I decided to try sketching ideas while playing my clarinet, and I've figured out two of my greatest faults in composing using the computer:

1) Lack of or poor structure (as if this isn't surprising with the Satirical Suite right now)
2) Not relying on simplicity (meaning, if I were to compose on the computer, I would tend to compose more complicated since the playback tends to make it sound better; if I were to compose from the clarinet, I write down everything, even if the ideas that I get are simple)

So, for me at least, Finale has definitely held me back in terms of composing. (For me, I believe some of it has to do with staring at the computer for so long.)

I agree with Whitacre that "the most important skill a composer can develop is the ability to sit quietly and ‘hear’ the music in their mind before they write it down." Although I do this for Finale composing also, one of my tendencies for when I do "click" in Finale is to have a lack of structure while "hearing" the ideas in my mind.

Although I still use Finale for most of my composing, I have decided to integrate pencil + paper every now and then (and I might as well get back to doing so today).

That is all I have to say about this.

@Death-- Yes, my "Amen" was to the blog post.

*Inspired* You know, I have never really thought about my "faults" as a composer. Maybe it's something we can all explain here and learn from them (and each other)?

I didn't even really know basic notation when I first started composing, (which made my pieces interesting) and I used NoteWorthy Composer as the first computer-composition tool. I, to this day, still love it better than any other program, because it's the most like writing on staff paper. It's not like Finale where everything is layed out for you and all you have to do it fill in the notes, no, you have to write down the bar lines and even make sure your rhythms actually fit to the time in measures. Easy? Not so much for people-- believe me, I've seen a lot of interesting things. Another thing, a lot of people don't know even how to write time signatures (this, however, is also a problem in NWC, but I'm just talking about computer-composition tools in general). These basic things give us that foreground which we all are based upon. Knowledge is power.

Anyway, that's my little-pointless-thingy on computer-composition tools. As for my faults in my composing, I can think of these:

1) Forcing Inspiration-- I'm the kind of person who always has a melody, song or even completed symphony running through his head. In fact, there's a rock tune going now and I'm not spending my time transcribing it. So what do I do when I sit down to "write" something? I often forget those grandeur ideas, and just start writing something; I have the thought that, "Hey, if it comes out at random times, it certainly should come out now!" But it doesn't, and I end up writing a crappy 12-measure draft of something. I don't know how to fix this, since the only time I've finished pieces (which are usually short) is where, one I was feeling good and two that song was rolling through my head at the time I was able to get access to my piano AND Finale. Uhg.

2) Too much dreaming-- My main problem ties in with itself in a few different avenues, but most of the time I get this big idea and I feel it's within my grasp and then I forgot that I need to actually write it all down. Remember that problem with me forgetting it? That's here. The dream is gone, and I'm discouraged as a composer.

3) Writer's block-- It seems I have this three-step process to me basically becoming depraved from composition. If I don't make it before I force inspiration, I'm doomed to follow 2 and 3. This writer's block just set's me back emotionally and at this stage improvising is a chore to me.

Interesting, I can't even call these flaws, but problems with myself. I can't really *think* of "flaws" in my composition, since I know what sounds appealing to myself and I know practicalities of writing (and of performance). I guess if there's one compositional flaw that I have is Developing. Even though I'm (I'll just say it) a great improviser and thinking of how things can variate, developing my ideas and getting them structured is a problem-- hence why I write short, impromptu pieces.

Damn. Good thing I'm not "going" into composition; all it would give me is more head knowledge of how to do it, instead of getting better at doing it.

Damn. Good thing I'm not "going" into composition; all it would give me is more head knowledge of how to do it, instead of getting better at doing it.

I'm in that same situation; probably just going for Performance instead. :heh:

One of my problems is that I often stay in my comfort zone and don't bother to branch out into new territory. I also need to be more imaginative.

I believe that yes, using notation software as a means to "create" music does limit your abilities as a composer. BUT you would be a fool not to use one while you compose. The ability to have clean looking notation, make easy fast changes, modulating, copying, inserting, etc. make notation software to go along side with the composing creative process. Writing things one paper in today's times is too slow and leaves room for ideas to slip one's mind.


-------



I'd also like to apologize to the community for being less active this summer than I should have. I've been at work with a personal project that will take years to complete, but may yield positive results in the Anime/Gaming industry (hopefully!). When I get a chance I hope to listen up on stuff the community has done while my ear has be blind.

Keep at it! Never settle for mediocrity! Your score will be one that pierces the heavens!

Your score will be one that pierces the heavens!

That was...dramatic. :lol:

http://twitter.com/youropera

^ This is neat, getting to contribute to the libretto.

EDIT: You know what might be fun? A composition game. What if we compose a bunch of tiny pieces, and then guess who composed what? Or whatever. But the emphasis would be on a game and not a contest.

That would be fun! Let's do it!

I was looking over Stravinsky's Firebird Suite and found this: http://www.uwec.edu/walkerjs/PicturesOfMusic/Firebird_example.htm . Confusing yet interesting. o_o

That would be fun! Let's do it!

The libretto or the game?

The game. The libretto is fun, too (I created the character "Celine" in case you were wondering. I also caused Tobermory to enter the scene in what became the pivotal "He's my son!" moment :D)

So, who will give the first step for play the game?

I dunno. We need someone to be able to be the mediator and to take all of our compositions and keep track of whose is whose when we start guessing.

And to use just midi, so no one will know who is who by their VST. A mediator, hmm, who can be...

Oh, good thinking. I dunno, can we find someone outside of the composition forums that would be willing?

Probably.

Any voluntary here? :heh:

Errr... bump? No one interested? Nor no one want to be a mediator? :cry:

got to be blackwood asnt it? otherwise we could all be driving miles to meet an theres like 8 ov us and weed all be like, "aright" "yeah" "hmmm nice car" "cheers mate" "no probs" an tha would be it lol, if we went up blackwood especially on a thursday we could meet up then mill about few laps an tha, then meet up an have a general chat, wadya think??

cheers

............huh?:huh:

"If your computer says that the tutorial I posted has a virus or something, I don't know what is wrong with your computer"
nice one :-)
________________

The game. The libretto is fun, too (I created the character "Celine" in case you were wondering. I also caused Tobermory to enter the scene in what became the pivotal "He's my son!" moment :D)

Good post. I appreciate it
Many thanks to ur post. I love it.

Um...thanks? Did you help write it?

Is it just me, or are we getting spam posting (I forget what the proper term is)?

Nope. It's not you. There's a lot of tidying up that should be done.

Does the French horn melody reminds you of an existent piece? I feel the melody is familiar.

Edit: Next time I should post these clips in my own thread... :heh:

It doesn't remind me of anything that immediately come to mind.

Question: I'm working on an arrangement for my orchestration/arranging class. Given the standard instruments of today's orchestra, what would be a great way to mimic a choir singing long notes like "Ooo?"

That depends. I really like the effect John Rutter uses in his "Gloria" with the sort of chorale-like texture he uses in the brass parts of the second movement. Maybe you could try something like that?

Does the music is constant in audiobooks? Or is used just sporadically? The audiobook is for children and is a verbal narration with illustrations.

Anyone got any suggestions on what can be done to make a trombone sound like a bassoon?

...I'm thinking cup mute.

Yes this is relevant.

Maybe you could also try playing into a stand, like INTO a stand.

?

We should do something for Christmas, related to music/composition of course. Any ideas?

Are you going to have time to participate? ;)

Go for it. If you make it, they will come.

I think that somebody here should compose the next best Christmas song, one that shall be a classic for the ages!

Let's do something for Christmas!

I love how Al keeps popping up telling us things he thinks we should do, and then disappears again for a while...lol

It's kind of late to organize a christmas contest though...hmmm:(...but I do like the idea.:lol:

I love how Al keeps popping up telling us things he thinks we should do, and then disappears again for a while...lol

:heh: I get all these ideas but I can never follow through (actually I don't disappear, I visit here fairly often, I just don't always have anything to say).

Uhhhh.. How can i write down the notes i have so far? I can read sheet music, but goin to a cybercoffe to print a blank sheet paper, and then writing it down seems LIKE ALOT OF PAIN, besides i don't have confidence in my writing..

I have overture but i can't the hang of it, and it;s still very tiring to write it down..

Isn't there any other way? like downloading a program and just connect it with the midi cable and play and it will automatically make a sheet or something?

thanks in advance guys

If you stay in tempo, there are programs with which the midi cable idea might work to some degree. If you want to be a composer, though, you should get used putting hard work into writing a piece down (whether electronically or physically) because it helps you to think about the purpose of every note.

Hello.
After reading several posts in the forums and pages in this topic I still don't know if there are any specific rules in the composition area, I'd like to know if we are free to post our compositions whatever their genre is (not anime-videogame related).
Thank you and sorry for my English errors.

You are totally free to post your works! Just make your own thread and add your works there. Keep all your stuffs in that single thread. So there won't be many thread with single pieces.

And Welcome!

Thank you, thank you =D.

Merry Christmas everyone ^^;

Merry Christmas people!

Merry Christmas and Happy New Year!

MEEEEEERRRRRRRYYYYY CHRISTMAS! HO HO HO!

*skeletal Santa Claus flies past*

That... doesn't exactly.... make me feel more christmassy *shudder*

Anyone composed any Christmass music yet?

*skeletal Santa Claus flies past*

Nightmare Before Christmas?

Happy Holidays everyone!

I was wondering if arrangements could be posted here? Like.. not original stuff?

Yes, just label it as such and give credit to the original composer.

http://www.youtube.com/watch?v=saQxoUe8dCI&feature=related Soundings by John Williams.

Cool! I'd never heard this before!

I like the reverberation there.

I also found this:


A NOTE BY THE COMPOSER

In writing Soundings, I've tended to think of it as an experimental piece for Walt Disney Concert Hall in which a collection of colorful sonorities could be sampled in the Los Angeles Philharmonic's new environment. The piece is in one extended movement and is divided into five sections.

In the first section, "The Hall Awakens," I decided to begin with four measures of silence in order to, symbolically at least, capture the Hall in its quiescence. The flutes then break the silence by murmuring softly in their lowest register. Horns and brass sonorities follow, and an unaccompanied section of unison strings allows us to test the Hall's friendliness to that magnificent group.

This is followed by "The Hall Glistens," in which a full battery of percussion and fully scored shimmering effects suggest glittering flashes of light that might emerge as the sun is reflected off of Frank Gehry's great exterior "sails."

Earlier, as I admired the Hall and studied its interior, I wondered what it might be like if the building's brilliant exterior surfaces could be sounded and the Hall actually "sang" to us. These thoughts suggested the third section, "The Hall Responds," in which the Hall itself becomes a partner in the music making. The orchestra sounds a vibrant low D, and the Hall reverberates and responds. Three other great sails are sounded as the orchestra, led by the solo flute, sends messages which are returned to us from various locations in the Hall.

In the fourth section, "The Hall Sings," the four great sail notes - D, E, C#, and B - reach their maturation and freely move about the Hall as the orchestra supports them. They eventually ascend and vanish above us as these vibrating units of sound return to take their fixed molecular place in the building structure… at least, in our imaginations.

The piece closes with the fifth section, "The Hall Rejoices," and here the orchestra celebrates with its full voice.

The motivic material for this finale comes from the suggestion of Los Angeles Philharmonic President and Chief Executive Officer Deborah Borda that I write a sequence for carillon bells that would be sounded in the lobby to announce the end of intermission. To accomplish this I've suggested the five "call" notes F#-D#-F#-G#-F# and a six-note group - G-G-F#-A-D-B - that gently remind us that it's time to conclude our conversations and return to our seats. These sequences of notes form the basis of the finale and the piece closes with the Hall itself "chiming in" at the celebratory conclusion.

I feel honored to have been asked to write a work for one of the inaugural concerts in the Walt Disney Concert Hall and a more inspiring subject for music can't be imagined.

http://mahawa.jw-music.net/classical/soundings.htm

Hi everyone,

I'm composing a piece for my school's band, and I have one question: to open the piece, I call for a piano black key glissando starting on the first Bb below the treble staff to the first Bb above the staff within one beat. Assuming that it is quite fast, is it doable? If not, then I'll just assign it to a harpist or something.

That should not be a problem.

That should not be a problem.

Thanks, and my last question: what note do I use to mark 10 notes per beat in one beat of 4/4 time? I'm guessing the 32nd note, but it might be one that requires a dot.

I call for a piano black key glissando starting on the first Bb below the treble staff to the first Bb above the staff within one beat. Assuming that it is quite fast, is it doable? If not, then I'll just assign it to a harpist or something.

Just to make sure, was you just meaning just the black keys and not any white key being played?

Just to make sure, was you just meaning just the black keys and not any white key being played?

Yes. (I spoke to a friend of mine of this, and he said, "It may be possible with a water bottle." :heh:)

That is a very easy solution if the performer can't go at the speed you are asking. But you easily can do that glissando by positioning each finger in the black keys, and the last note would be played by the left hand. I feel that is the easier one. Though there are other ways that work. If you use a keyboard and not a piano, you just can tell the person to use the transposition tool for have the notes in the white keys for that moment.

IMHO that would hurt alot.

No if you do it positioning your fingers in the notes. It's just 11 notes, goes up at the speed asked and play the last note with the index finger. Is not how a glissando is actually done, but that way there should not be problem in perform it.

There are the other ways using the side of your index finger or using all the fingers facing down or up, or nails. But that would take time to get used to it and to perform it right.

http://www.youtube.com/watch?v=Er5uuCYi7q4&feature=player_embedded

http://www.youtube.com/watch?v=9jBuqFdtXtk

Ooo, if you rest both of your fore arms on the black keys and roll them you can do it! :lol:

John Schmidt-style! XD

No if you do it positioning your fingers in the notes. It's just 11 notes, goes up at the speed asked and play the last note with the index finger.


OH... that's what you mean. I had no idea what you were talking about, and I thought you meant only with one hand...

At first, I thought each finger in the black keys meant that you put them in the crack between each black key, and then do a glissando with your other hand... which would result in broken fingers doing a task that would otherwise be useless...

Yes. (I spoke to a friend of mine of this, and he said, "It may be possible with a water bottle." :heh:)

You know, I think a ball with the right size will work better.

Thanks, and my last question: what note do I use to mark 10 notes per beat in one beat of 4/4 time? I'm guessing the 32nd note, but it might be one that requires a dot.

First off, your gliss on the black keys are very easy to do and should not hurt if done correctly. As for your 10 notes per beat, its written the same way as a triplet except you would have 10 notes beamed together with the number 10 instead of 3. However, if you write it out it would not be a gliss. The ONLY TIME that you would write it out specifically is if you had a tempo at which the control is necessary. Unless you have a great pianist, it would be very hard to get those 10 notes played equally as you might hear it in a notation program in a fast tempo piece.

I would suggest you write a gliss from the starting note to your destination note over the length you want it to last. You could include a note above the piano staff (Gliss on Black Keys Only) but usually if a pianist sees a gliss from a black key to another black key they would be able to guess that, that is what you want. You mentioned that your tempo is fast so it might work better as an uncontrolled gliss. You would write a gliss line from the starting note and extend the line to a rough area of where you want the gliss to end without actually writing your destination note.

DO NOTE USE A BALL OR A WATER BOTTLE TO PLAY THE PIANO! Thats just not right....x_x

However, if you write it out it would not be a gliss. The ONLY TIME that you would write it out specifically is if you had a tempo at which the control is necessary.

I agree with you that that's how it SHOULD be, but there's kind of another school of thought which teaches that you should always write it out (such as my comp. teacher last semester). :P



DO NOTE USE A BALL OR A WATER BOTTLE TO PLAY THE PIANO! Thats just not right....x_x

You know, there are things which are a LOT worse that composers do with pianos nowadays...

PS. What was up with that random Noir7 appearance today with him saying odd things? Do you think it's some form of rebellion? lol

You know, there are things which are a LOT worse that composers do with pianos nowadays...

PS. What was up with that random Noir7 appearance today with him saying odd things? Do you think it's some form of rebellion? lol

Like burn them? <_< [http://blog.wfmu.org/freeform/2008/03/playing-a-burni.html]

Yeah, I sometimes see that too! Noir7 posting weird stuff. Weird. @_@

Do you think it's some form of rebellion? lol

:lol:

You know, there are things which are a LOT worse that composers do with pianos nowadays...

I know...myself included.:heh:

but you do that to create a particular effect that otherwise you cannot make the piano do. You won't see any composers say slam a hammer against the keys because the fingers can't play it loud enough right?

The rhythm of life:

http://www.youtube.com/watch?v=vmKxgRzc3f0

By the way, I finally bought one of the products of eastwest! Too bad I will have to wait till the end of February for have it. I had to ship it to Miami, and I will get it when I go there. :<

By the way, I finally bought one of the products of eastwest!

Awesomesauce!


On a side note, I have reaffirmed my love for Tchaikovsky's music. ^_^ :music:

Like burn them? [http://blog.wfmu.org/freeform/2008/03/playing-a-burni.html]


Yes...like that. *cries*