Yes...like that. *cries* http://blog.wfmu.org/freeform/2008/03/playing-a-burni.html

Sad. I go to Yamaha music stores, wishing that I had one of those grand pianos in the store, and then now I see this. What a waste. :(

That came like a stab for me...

Hans Zimmer and his Studio... Gee o_0

http://www.stuckincustoms.com/2010/01/29/the-secret-lair-of-hans-zimmer-from-where-he-inspires-the-world/

It's like the batcave, except more comfortable :D

I think most of that is sadly photoshopped. Take a look at this video. http://www.youtube.com/watch?v=I9-fw9l7znQ The room does have that decor but is much more shallow.

What would you guys want in your dream recording studio?

The London Philharmonic Orchestra sitting patiently to try out everything I write. :lol:

I guess what I really want is a dual monitor setup, studio monitors, a velocity sensitive keyboard controller, descent recording equipment, and a mixer. I'd be happy with that. I'm working on it this semester! Hopfully I'll have a new PC and the studio monitors by June!

I would like to have plants and soft colours. Too bad plants need sun though.

I am currently seeing to update my sound library. I already bought a product of eastwest, and looking forward to make another buy probably. I am just waiting for more deals that can benefit me. I want also studio monitors, but that will come in the mid or late of this year.

By the way, eastwest has a free orchestra if anyone want to try a small list of their samples.

The London Philharmonic Orchestra sitting patiently to try out everything I write. :lol:


I have that...www.notionmusic.com...:P

My dream recording studio would have a program that would be able to read my thoughts and hear exactly what I hear in my head and simply produce that out as a sound file no matter what the timbre. No need to click, no need to write, simply imagine. We're probably still 100years from achieving that though lol.

Hmmm...I think my dream studio would include A ) a mind-reading device that would notate from my head kind of like KK said, B ) a computer with infinite processing power and memory, C ) a portable assortment of chamber instruments and singers to record my stuff, D ) a concert hall, and E ) a cathedral.

I would have Alphonse Nguyen in my ideal recording studio!

What would you guys want in your dream recording studio?

Every instrument in existence; all the up-to-date [recording] technology; competent musicians for all those instruments; getting my way, every time.

I would have Alphonse Nguyen in my ideal recording studio!

...getting my way, every time.

Mwahahahahaha...

Hmmm...I think my dream studio would include A ) a mind-reading device that would notate from my head kind of like KK said, B ) a computer with infinite processing power and memory, C ) a portable assortment of chamber instruments and singers to record my stuff, D ) a concert hall, and E ) a cathedral.

...Hahaha, what a large studio!

...It'd be sorta hard to maneuver around all of those...

Oh, and I forgot the most essential part: a soft-serve ice cream machine!

*Resurrects*

Having a concert hall and a cathedral would be nice~ But an opera house like Wagner's Bayreuth would be premium.

P.S. I have composer's block, someone come save me. :[

Try getting sick. Maybe you are like me. When I get sick I get many ideas always, lol. ;)

Haha, but I actually do have a cold right now and am staring at my tone rows and plans. =P

This made me want to look if food has effects in how effectively a person make use of the creativity by the quantity of nutrients consumed daily.

I would have Alphonse Nguyen in my ideal recording studio!

So that I could relax and watch you work, right? :P


The London Philharmonic Orchestra sitting patiently to try out everything I write. I guess what I really want is a dual monitor setup, studio monitors, a velocity sensitive keyboard controller, decent recording equipment, and a mixer.

I want that too. Oh, and a Steinway! As well, I need something that'll automatically record all the sounds I make, because I never write down my improvisations or humming/singing.

Oh, and perhaps a stage for a small concert.

I'd also like a big screen TV with an awesome home theatre system . . just because :lol:

P.S. I have composer's block, someone come save me. :[

Best cure: give up.

I swear, I'm like Michelangelo times twenty... I don't only not finish my compositions, but I'll get to the point of opening Finale, or even just sitting at the piano, playing a few notes, then just giving up. Eck. There's too much in this damned head of mine to sit and compose.

But really, don't give up. You have continuable work ethic for composition. It'll come back, just let it go for a while.

Oh, Sir_Dot, it's because it's the middle of winter. That always hurts my level of inspiration. It's hard, too, when you have to compose for credit and have no inspiration, isn't it?

PS. I think I'm ready for your criticism on my compositions if you ever have the desire. I've learned to take criticism a little better lately, I think. You don't have to if you don't want, to, but if you ever wanted to, I wouldn't mind.

Does anyone here have tried to write bad music?

That skill comes naturally with me. :lol:

But not really. I think it would be impossible to write something that everyone would agree is "bad." Just as one man's trash is another's treasure, one man's 'bad' music is another's favorite.

That's true. My ideal for bad music is probably country-western... XD

PS. I am so frustrated with finale right now that I'm about ready to kill something...

PS. I am so frustrated with finale right now that I'm about ready to kill something...

Apparently my good PC doesn't support a whole lot of instruments when I try to write things.. I get to the second trombone parts in a band piece, and it just doesn't have them playing anything. Think it's my soundcard?

Hmmm...I don't know. You'd have to describe the problem more.

If anyone interested, eastwest is having a special of ST. Valentine. Voice of Passion for 195 dollars and Gypsy for 195 dollars.

Would you guys recommend that I buy a synthesizer with sampling or buy a software program instead? I want the music to sound as authentic as possible.

Can you elaborate your question?

Al, as long as you have a decent keyboard hooked up to your computer, you should be alright. I compose all my music with a crappy keyboard I bought about 7 years ago. It is only semi-touch sensitive, but through rigorous sampling and mixing, it will sound authentic. Even to the point that you can't hear the difference between the sampling and a real recording. Most good sample packs will set you back around 100-500 dollars or so, but you can get most of them for free by downloading (wouldn't recommend that if you are composing commercially, or just have high moral values, but that's what I do.)

You are a horrible person. ;)

Al, as long as you have a decent keyboard hooked up to your computer, you should be alright. I compose all my music with a crappy keyboard I bought about 7 years ago. It is only semi-touch sensitive, but through rigorous sampling and mixing, it will sound authentic. Even to the point that you can't hear the difference between the sampling and a real recording. Most good sample packs will set you back around 100-500 dollars or so, but you can get most of them for free by downloading (wouldn't recommend that if you are composing commercially, or just have high moral values, but that's what I do.)

Thanks. I have a Yamaha keyboard, I guess that should work. Which programs do you recommend? If it's too expensive or too much work, I suppose I'll just stick with using real instruments.

I like to use FL Studio. They can sell you a package to fit any budget... https://support.image-line.com/jshop/shop.php

You should give more specifications of what you are after and what is your maximum budget. Because to go as close as the real sound of an instruments can be quite expensive in samples and having a good PC.

FL Studio is a good sequencer. I use it for sequence all my pieces. But there is also Cubase for PC too. And I think Cubase can be more comfortable to work with MIDI channels (Judging of what I have saw around).

You should definitively download the demos from the sequencer and see what you would prefer judging by your own needs. In the end all of them do the same thing. But some may have they little things that you would like more, and some may be more flexible for audio recording than handling virtual instruments.

A few sequencer are...

For PC:

FL studio: http://flstudio.image-line.com/
Cubase: http://www.steinberg.net/en/home.html
Sonar: http://www.cakewalk.com/

For MAC:

Digital Performer: www.motu.com/
Logic: http://www.apple.com/logicstudio/
Pro Tools: http://www.digidesign.com/
__________________________________________________ _____

About sample libraries there is a lot of choices. If you are after the orchestra instruments. Then a few good options can be the products of:

Eastwest: http://www.soundsonline.com/home.php
ProjectSam: http://www.projectsam.com/Products/Boxed-Products/
Vienna instruments: http://vsl.co.at/en/211/442/607.vsl
Cinesamples: http://www.cinesamples.com
Spectrasonic: http://www.spectrasonics.net/
Native Instruments: http://www.native-instruments.com/
Sonivox: http://www.sonivoxmi.com/ProductList.asp?new=1&pg=Symphonic&mnu=LaySymphonic&Grp=Symphonic
Cinematic Strings: http://www.cinematicstrings.com/
Audiobro: http://www.audiobro.com/
Motu: http://www.motu.com/products/software/msi/
Vir2: http://www.bigfishaudio.com/4DCGI/vir2/products/index.html
__________________________________________________ _____

Personally would be better to stick with real instruments and to go with a cheap but decent library that help you make muck-ups of your pieces. Unless your goal is one of a final product with a good sound quality. Many of them make good offers sometimes. So, if you subscribe to some newsletters probably you will see a good deal that you would like. :) Eastwest is always having nice deals.

Cakewalk Sonar is the best sequencer, but also quite expensive I believe. East West has by far the best samples.

Thanks everyone! I'm so new at this. Meh, I can take my time in figuring all of this out, since I need to actually to compose something before I consider recording.

The Feed a Starving Young Canadian Composer Award (http://www.alphonsenguyen.com/2010/03/17/official-entry-post/) (inspired by Noir7)

Good luck to all of you who are entering!

Check out Eric Whitacre's Virtual Choir (http://www.youtube.com/watch?v=D7o7BrlbaDs&feature=player_embedded). I'm pretty stoked about it (plus the producer, Scottie Haines, mentioned my music on the Facebook fan page! Soooo cool...)!

I saw that comment, pretty nice. ^_^

So, how do they work this voodoo magic? Seriously, are they listening to a recording and watching him conduct as they sing? I assume that they're all recorded separately. That's got to be a nightmare in terms of mastering and balancing.

Yeah, it took almost 3 months for Scottie to put it all together after all of the videos were submitted. If you wanna know how it was done, it's all explained here (http://ericwhitacre.wordpress.com/2010/03/23/the-virtual-choir-how-we-did-it/).

I don't know if this has been posted before, but I thought that this (http://sunsite.univie.ac.at/Mozart/dice/#about) is an interesting idea (even if the results aren't always great).

I feel to compose a rap song. '_'

I don't know if this has been posted before, but I thought that this (http://sunsite.univie.ac.at/Mozart/dice/#about) is an interesting idea (even if the results aren't always great).

I remember comming across this once. It is pretty cool, isn't it?

A chart: http://www.independentrecording.net/irn/resources/freqchart/main_display.htm ^_^

I remember comming across this once. It is pretty cool, isn't it?

Yeah, it's cool. But it doesn't necessarily turn out great. Have you actually listened to a sample piece? It often sounds random and abrupt. So my friend challenged me to do something similar to this, but instead try to solve the random/abrupt problem. I refused, but you're free to try it yourself.

First movement theme from Mozart's 40 used in a pop song: http://www.youtube.com/watch?v=j4elgahqpHw&NR=1

A Lego Harpsichord!

http://www.oddmusic.com/gallery/om21250.html

Yeah, too bad the Lego harpsichord sounds like garbage. Cool idea, though.

Oh my god guys, you should really check out HollowRiku's compositions (youtuber), they're such a fresh surprise to me! Here's one of his 7 compositions, the one that I liked best.

http://www.youtube.com/watch?v=S-ERg4jT1R0

They're OK.

They're OK.

Not to mention the performance.

Hey, everyone,

I was searching "Ligeti" on YouTube and found this: http://www.youtube.com/watch?v=nuq8e2zc8SE . Note that this is on Finale Notepad. xD

Hey, everyone,

I was searching "Ligeti" on YouTube and found this: http://www.youtube.com/watch?v=nuq8e2zc8SE . Note that this is on Finale Notepad. xD

Good electronic piece, but associating the the Ligeti etudes...no. They're actually humanly POSSIBLE in some form.

how did the thousand dollar competition go?

Still hasn't happened.

I can't believe is over 1 year. Time is passing fast. x.x

Hey, everyone,

I was searching "Ligeti" on YouTube and found this: http://www.youtube.com/watch?v=nuq8e2zc8SE . Note that this is on Finale Notepad. xD

that is just amazing.

General harmony question: I may use parallel fifths sparingly, but how do I use these constantly, as the impressionist composers do? Parallel fifths are one of those things that still sound bad to me - but I may use them every now and then (two chords max, usually no more than that). I mean, I don't get why a bunch of parallel fifths work for this piece: http://www.youtube.com/watch?v=e-fTvJwuENk (starting at around 0:40). What I'm noticing though, is that usually there's a sequence of parallel fifths, there's something that's "covering" it (as strong dissonance is covered), or at least something that makes the chords not as audible and noticeable, weakening the effect. In what cases do you use parallel fifths, and why?

I think the reason they work in impressionist music is that they're NOT covered, actually. To understand circumstances where they work, you must first understand the circumstances when they do not work, and why. Composers during the Renaissance generally began to favor an independence of voices; parallel "perfect" consonances which are stable, such as fifths and octaves (a fourth is "perfect" but also tends to be less stable), undermine the independence when they are used, which tends to sound bad in that context. Therefore, if you try to cover them up with tonal devices, they have the potential to sound like a voice leading error. However, when the independence of the individual voices is not the main focus, parallel fifths can work quite well, as is the case in much modern music. It's mostly a matter of instinct from there, however. Parallel fifths tend to sound really nice in modal music, though, just as a thought.

Cadenzas.

Should they only be composed by the original composer or is it okay to be substituted by somebody else's?

Technically, a cadenza is for the performer to show off his or her musicality and technical facility, so I'm almost sure it is almost always a liberty for the performer. Depending on what time period of music you're talking about, the restrictions may sometimes vary. If you're talking about a Baroque/Classical piece, then of course the performer can do whatever they want. Meanwhile, romantic and beyond might require the performers to follow the composer's guides more specifically.

If you're talking about a Baroque/Classical piece, then of course the performer can do whatever they want.

Wouldn't it be funny if someone decided to funk up a Mozart cadenza...literally?@_@

I'm sure it's been done. Whether if it was tasteful, that'd be subjective. :P

But that's what I'm talking about. Let's say you're performing a Mozart piano concerto, but you substitute a classical cadenza for something different, let's say, something 20th century-like. Would that be acceptable?

I heard a cadenza, written by somebody else for a Mozart piano concerto, and it was keeping in the same classical style . . until that composer deliberately quoted from an entirely different/popular piece by Mozart. I thought that was quite lazy of the composer.

I'm sure it's been done. Whether if it was tasteful, that'd be subjective. :P

True, but I want to witness it myself... :D

http://www.sonokinetic.net/

Tonight ends EastWest coupon of 50% discount. This is half price of any of their products! (There are a few exceptions).

EWQL Symphonic Orchestra Gold is $247.50 dollars with the coupon!

The Composer collection Play Edition (no customizable) is 747.50 dollars of 1,495 dollars.

If anyone interested just put "Anniversary" in the coupon thing.

Who's your favourite female composer? Mine is Clara Schumann. Too bad the list of female composers is so short. Discuss away.

I've always wondered why more women don't compose (or perhaps simply aren't known for their compositions). In fact, I can only think of two female composers at the moment (besides my sister :P ), which are Clara Schumann and Natalie Sleeth! Hahahahaha...

Up here in Canada, there's actually quite a few female composers... And I have to say my favourite female composer is probably Larysa Kuzmenko.

The only ones that comes to my mind are Yoko Yanno , Yuki Kajiura and a woman from another forum... x_x

Any suggestions?

I can think of lots of "Songwriters". Does that count? Oh, and I guess zippy is a woman! Are there any other girls on Ichigos that compose?

Alexina Louie was a required study for RCM's History 3 >_>

I can think of lots of "Songwriters". Does that count? Oh, and I guess zippy is a woman! Are there any other girls on Ichigos that compose?

Oh, I mean of female composers dedicate more to instrumental music. Songwriters there I can think of a lot of female. :heh: Zippy indeed is a woman, and there were another two in this forum if I am not wrong. Also spoonpuppet too. And I just remembered Hiromi Uehara and Yoko Shimomura.

Oh, I mean of female composers dedicate more to instrumental music. Songwriters there I can think of a lot of female. :heh: Zippy indeed is a woman, and there were another two in this forum if I am not wrong. Also spoonpuppet too. And I just remembered Hiromi Uehara and Yoko Shimomura.

EDIT: Oops Yoko Kanno was already mentioned. >.<

I've always wondered why more women don't compose (or perhaps simply aren't known for their compositions).

Exactly! Why is that? I know there are many talented female musicans out there.

Oh, I just thought of another one! Nancy Galbraith, at Carnegie Mellon! Oh, and Madelin Shapiro, and also Cindy Cox at UC Berkeley (the latter two visited for masterclasses at my University this year, so that's why I know them)!

If you are into modern music, I can think of a few.

Chen Yi- She is from China but now teaches composition in the United States. She has a very unique style of orchestration, and she fuses Eastern and Western harmonies together in an intriguing way. Yo Yo Ma just performed her new Cello Concerto, I believe.

I just came back from a music composition workshop in Kansas City and met Mara Gibson and Ingrid Stolzel as well. Gibson composes a lot of dissonant electro-acoustic pieces and is lesser known. Stolzel is from Germany but now teaches in the Kansas City area. Her rhythms in particular are very interesting. She often composes in such a way that there is no evident downbeat.

There are tons of female composition professors, but they seem to be lesser known. Chen Yi is making a lot of news from my understanding though and is fairly well published.

Yay, I just ordered my new music production PC. This thing's bad ass! I'll be sure to show you guys when everything's up and running! :D

Can we have the specs? :D

OK :-)

Motherboard.......ASUS P7P55D EVO LGA 1156 Intel P55 ATX Intel Motherboard
Processor............i7-860 Lynnfield 2.8GHz LGA 1156 95W Quad-Core Processor BX80605I7860
CPU Heatsink......Noctua NH-U9B SE2 92mm SSO CPU Cooler
RAM.....................Kingston HyperX 6GB (3 x 2GB) 240-Pin DDR3 SDRAM DDR3 1333 Desktop Memory Model KHX1333C7D3K3/6GX
SSD.....................OCZ Vertex Series OCZSSD2-1VTX30GXXX 2.5" 30GB SATA II MLC Internal Solid State Drive (SSD)
Hard Drives.........2 x Western Digital Caviar Black WD1001FALS 1TB 7200 RPM SATA 3.0Gb/s 3.5" Internal Hard Drive -Bare Drive
Video Card:.........GIGABYTE GV-R435OC-512I Radeon HD 4350 512MB 64-bit GDDR2 PCI Express 2.0 x16 HDCP Ready CrossFireX Support Low Profile Ready Video Card
Power Supply......Thermaltake TR2 W0070RUC 430W ATX12V V2.2 Intel Core i7 Compliant Dual 80mm Fans Full Cable Sleevings Power Supply
Case...................COOLER MASTER Elite 330 RC-330-KKN1-GP Black SECC ATX Mid Tower Computer Case
Studio Monitors...BEHRINGER MS20 20 Watts 2.0 24-Bit/192 kHz Digital Stereo Near Field Monitors

That is Sweet!

I have been wanting a SSD or at least a velociraptor for the libraries.

I don't see any Sennheisers, Audio-Technica, or M-audio..

I don't see any Sennheisers, Audio-Technica, or M-audio..

Establish the core, then expand. Give me a break! I just sunk $1,200 USD on this thing! XD

OK :-)

Motherboard.......ASUS P7P55D EVO LGA 1156 Intel P55 ATX Intel Motherboard
Processor............i7-860 Lynnfield 2.8GHz LGA 1156 95W Quad-Core Processor BX80605I7860
CPU Heatsink......Noctua NH-U9B SE2 92mm SSO CPU Cooler
RAM.....................Kingston HyperX 6GB (3 x 2GB) 240-Pin DDR3 SDRAM DDR3 1333 Desktop Memory Model KHX1333C7D3K3/6GX
SSD.....................OCZ Vertex Series OCZSSD2-1VTX30GXXX 2.5" 30GB SATA II MLC Internal Solid State Drive (SSD)
Hard Drives.........2 x Western Digital Caviar Black WD1001FALS 1TB 7200 RPM SATA 3.0Gb/s 3.5" Internal Hard Drive -Bare Drive
Video Card:.........GIGABYTE GV-R435OC-512I Radeon HD 4350 512MB 64-bit GDDR2 PCI Express 2.0 x16 HDCP Ready CrossFireX Support Low Profile Ready Video Card
Power Supply......Thermaltake TR2 W0070RUC 430W ATX12V V2.2 Intel Core i7 Compliant Dual 80mm Fans Full Cable Sleevings Power Supply
Case...................COOLER MASTER Elite 330 RC-330-KKN1-GP Black SECC ATX Mid Tower Computer Case
Studio Monitors...BEHRINGER MS20 20 Watts 2.0 24-Bit/192 kHz Digital Stereo Near Field Monitors

Looks alot like the i7-860 system I'm getting next week. It's gonna be great, finally ditching this lol Pentium 4.

I laughed upon seeing this: http://www.youtube.com/watch?v=tgDcC2LOJhQ .

Haha, I remember this. Now I finally watched it full and feel to listen to Britney Spears... You drive me crazy!! lalala... lol

So I recently watched Magic Flute Diaries. Although it was interesting in how the opera plot mirrored the 'real world' plot of the performers in the movie, it was confusing at times due to an improper focus on both ends.

Which movies about composers and their music do you guys like?

Amadeus is my all-time favourite.
Beethoven Lives Upstairs is a childhood favourite.
Immortal Beloved is worth a watch.
I have yet to see Impromptu, but I want to.
The Red Violin is pretty neat.
Can't remember if I liked Mr. Holland's Opus. Probably did.
The Pianist was well done but I didn't like it.

I liked Amadeus, Beethoven Lives Upstairs, and Mr. Holland's Opus. I'm not sure if I saw the other movies you mentioned. XD

Has anyone tried the sequencer "REAPER (http://www.reaper.fm/)?" From what I can tell, its pretty nice and very resonably priced!

I liked August Rush the first time I saw it, but since then I've grown to sort of despise it...lol

Has anyone tried the sequencer "REAPER (http://www.reaper.fm/)?" From what I can tell, its pretty nice and very resonably priced!
I've tried the trial version, but I've not yet gotten the midi function to work, however that's because I gave up on it a while back. I intend to try again in the near future to see if I can get midi sound to come out, and if I can manage to get it to work, and figure out how to use most of the other functions in the program, I plan to buy a license and make it my main digital audio workstation. And the price is indeed within the average person's budget... especially when compared to other DAWs.

I liked August Rush the first time I saw it, but since then I've grown to sort of despise it...lol

Ah! I forgot to add that to the list. Yeah, I liked it at first because of its feel-good nature. But the whole story/plot is so improbable.

There is a movie about a composer that dies and his wife or someone has to finish his music... but I think I am totally wrong in what I am saying. But I do remember was about music composition and something else! lol

August Rush, while enjoyable, makes you feel so inadequate as a musician lol. I loved Mr. Holland's Opus though. That's the life I have to look forward to I guess...hopefully without as much drama, haha.

and Reaper is a great tool for sequencing. I mainly use it to edit the waveform itself rather than the actual music (since I can do all of that in Finale anyway). But I'm still using the "trial", even though it never locks you out lol.

and Reaper is a great tool for sequencing. I mainly use it to edit the waveform itself rather than the actual music (since I can do all of that in Finale anyway). But I'm still using the "trial", even though it never locks you out lol.
Personally, and this is just my opinion, but I think it's better to pay for a license once you know that you're going to use the program.

The price is very reasonable, and I think people should be encouraged to pay for it, otherwise, the makers might not be so generous about the demo in the future and decide to lock people out after a finite amount of time. This would be bad for people like me, who've had the program installed awhile, but haven't actually run it for long and subsequently haven't figured out how to use it yet. I've had Reaper for over a month, but I've run it for less than 2 or 3 hours I think. Most of that time it was idling while I was searching on the net looking for how to get midi to work in it.

I plan to pay for it once I figure out how to work all the functions, starting with how to get midi files to playback with sound. I really need to take the time to sit down and figure it all out.

August Rush, while enjoyable, makes you feel so inadequate as a musician lol.

After listening to the soundtrack, I discovered that I don't like August's "Symphony" very much, either...lol!

My subscription to ROCKETBOOM on YouTube showed me this cool interview at the Steinway & Sons factory. http://www.youtube.com/watch?v=_9T6IzCp6AI

I'd love to visit a piano factory!

A friend put my music loud in his car today. Was an interesting experience, lol.

I just saw this (http://www.youtube.com/watch?v=qHBVnMf2t7w) today.

Sorry for the double post - I'm reviewing for a Theory Placement Exam that I'll be taking at the end of this month. I have the college Theory textbook with me, and I remember most of what I learned in AP Music Theory, but the class I was in never went over "objectionable parallels;" what are these?

EDIT: Or is this term just to mean that parallel octaves, fifths, and unisons aren't allowed?

Sorry for the double post - I'm reviewing for a Theory Placement Exam that I'll be taking at the end of this month. I have the college Theory textbook with me, and I remember most of what I learned in AP Music Theory, but the class I was in never went over "objectionable parallels;" what are these?

EDIT: Or is this term just to mean that parallel octaves, fifths, and unisons aren't allowed?
Yeah, I think they wrote "objectionable" because it's easier than always saying "unisons, fifths, & octaves". Kind of a blanket term for those three cases.

wait, parallel unisons and octaves are objectionable? I see them all over the place in all sorts of music.

After listening to the soundtrack, I discovered that I don't like August's "Symphony" very much, either...lol!

That was probably my least favorite movie because it portrays music in the wrong way. Just become a prodigy and learn music instantly. The kid learns music notation in less than 6 hours, is accepted into Julliard, learns music theory, composition, orchestration, and conducting in a year. And on top of it, Julliard decides to perform his piece for a major concert. gained multiple years of muscle memory for guitar instantly. It makes music seem more "magical" and mysterious than it actually is.

wait, parallel unisons and octaves are objectionable? I see them all over the place in all sorts of music.

In a contrapuntal (i.e. counterpoint) sense, unisons and octaves are objectionable because it unites the voices, disabling the point of counterpoint (motion). For example, if you have parallel unisons, it sounds like one part and only one part. Octaves have close overtones to unisons, making them sound almost like one part. Orchestration is usually where one sees these rules broken (at least in a Theory class) - out "in the wild" (as my Theory professor used to say), anything can happen.

Thanks, Solaphar. My professor also had a strong dislike toward direct fifths and octaves - he didn't say too much about them, nor did he really care about them in part-writing. According to the book I have, "Direct (or hidden) 5th or 8ve results when the outer parts move in the same direction into a P5 or P8, with a leap in the soprano part." Does this situation *only* affect the soprano and bass parts and does the leap *have* to be in the soprano part? Thanks again.

As far as I have learned the leap could be in either part, but yes, it only matters between outer voices.

Also, parallel fifths have become commonplace in 20th and 21st century music; however usually the majority of "music theory" is studying contrapuntal techniques developed in the Baroque period (and which carry through much of the Romantic period).

Yo, so I wrote this piece on music. I'm still working on some of the ideas, so I'd appreciate your insights.

http://alfonso-el-sabio.blogspot.com/2010/07/theory-of-music-most-abstract-of-arts.html

A very interesting and good read, but perhaps you could give us your thoughts on songs/lyrics and how they fit into your argument.

As far as I have learned the leap could be in either part, but yes, it only matters between outer voices.

Thanks! ^_^

Heavyocity is holding a contest. If you own any product by them or Native instrument you are able to participate if you are interested.

http://www.heavyocity.com/Contest/

Quote:

To enter the contest, submit an original composition of 1 to 2 minutes in length. The tracks must be instrumental, composed using Virtual Instruments only (no live recording). Submissions must be composed using 1 or more of the following Heavyocity and Native Instruments products Only:

* Massive
* FM8
* Absynth
* B4
* Pro-53
* Reaktor Factory Library
* Kontakt Factory Library
* Kontakt Player Free Library



* Kore 2 Factory Library
* Kore 2 Player Free Library
* Battery 3 Sample Library
* Electrik Piano
* Acoustik Piano
* Maschine Sound Library
* Heavyocity's Evolve
* Evolve Mutations 1
* Evolve Mutations 2


Submissions will be made using the SoundCloud dropbox. Participants will have to have an account at SoundCloud. If you do not already possess an account, you will can create one for free in the process of submitting a track.

All Submissions must be made by the end of day on September 30, 2010


10 finalists will be selected by The Heavyocity Team, and submitted to a judging panel. The prestigious contest jury includes:

* Javier Navarrete - Oscar Nominated Film Composer
* Clinton Shorter - Award Winning Film Composer
* Kevin Riepl - Video Game/Film Composer
* Jason Graves - Bafta Award Winning Video Game Composer

Grand Prize:

1x Evolve: Modern Virtual Instrument
1x Evolve Mutations
$119 towards any product at the NI Online Shop A feature on the Heavyocity website.

Second Place:
1x Evolve Mutations

Runner Up:
1x Heavyocity T-shirt



Edit:

The Kore 2 Player Free Library is free. :)

http://www.native-instruments.com/#/en/products/producer/kore-player/?page=349

Hey guys, I didn't want to start a new thread for this so I'll just ask here. Is anybody any good with synthesizer programming? I'm not talking about synthy sounds. I'm looking for somebody who could program some realistic (or as realistic as possible) instruments. Maybe as a soundfont or a VST or something, or even just drawn up waveshapes. Send me a message or something if you're interested! Thanks :)

^ Do you mean to program live instruments samples recorded already to program them? And what for? I can recommend someone, but I don't think the cost will be cheap. :P

Well do you remember SNES? Back then they had to get people to program each individual instrument in a way that could be played by the hardware, whereas now they just use live instruments, because of the high bandwidth.

The person I can recommend, if you want to contact him is "zircon". If you have been in OC Remix, probably you have saw him.

http://zirconmusic.com/services/

I hope it help!

So, like making patches with Supercollider or something? Or using a modeling synthesizer like "Sound Sculptor"?

I don't know what either of those are, it's foreign language to me. I'll show you what I'm talking about. http://en.wikipedia.org/wiki/Synthesizer_programmer

Oh!

*scratches head*

Haha, I'm sorry to be so vague. I wish I could explain better.

My choir director "commissioned" me to arrange a Christmas carol for brass band and choir today based on my work on "My Lord, what a mornin'"! I'm so excited! Now I just have to decide on a carol...

$(*$#&($#&!

http://www.imperfectsamples.com/website/samples/fazioliconcertgrand/

I have a Fazioli virtual instrument, but this sounds like the real thing! That's also a very reasonable price.

I'm digging the pedal release noises...

I heard Synthogy Ivory is also pretty good. Kenji Kawai uses it in his soundtracks.

There is a 40% OFF and Free Shipping worldwide on orders over $100 at eastwest:

http://www.soundsonline.com/home.php

I have a Fazioli virtual instrument, but this sounds like the real thing! That's also a very reasonable price.

Have you actually heard it someone playing it live?

If there is any composer here that likes Elfman's works, this probably will interest you:

http://www.youtube.com/watch?v=yrbYEr4oSKk&feature=player_embedded

http://www.burtonelfman.com/

Do you guys have much difficulty in finding performers to play/record your music?

Depends on the medium and the style.

Hi.

Might peek my head in here and there.

I don't know about too much about getting back into composing, but I might do some commenting and a few transcriptions.

Yeah, what's up Ichigo's music?

Depends on the medium and the style.

I can't believe how hard it is for me to find a guitarist and drummer! It's crazy.

Have you tried to contact people in youtube?

Well, I've never written for drums (except for my percussion techniques final; people were required to help me perform that as part of their final, though, so that doesn't count, really), and when I wrote for guitar it was easy to find a guitarist because there was one in my composition seminar with me. I have, on the other hand, had mundo trouble finding French Horn players and Cello players before.

Learning Drum Set was probably the best idea I had. If anyone needs help with writing for drums, contact me. My first and best word of advice for you to do is to look at instructional videos on the basics of drumming. Basically once you learn that, you go from there. :)

If there is any composer here that likes Elfman's works, this probably will interest you:

http://www.youtube.com/watch?v=yrbYEr4oSKk&feature=player_embedded

http://www.burtonelfman.com/

500 dollars the pre-order, huge. o_o

NASA contest (https://songcontest.nasa.gov/home.aspx)

So, who's going to enter?

That is so cool!

Sweeeeeeeeet! If only I was good at that type of music... Having my music played in space would definitely be a unique accomplishment!

This will sound dumb but finally I learned how to route midi out channels to individual mixers for add individual effects to each channel. I feel so happy and dumb. XD

SO.
Lets talk about Atonality.

I went to a composition masterclass today with Steve Mackey, and I presented a piece, and he said. "Good, but, you need to get tonality out of your system."

Quite personally, I don't care for Atonal music. And I really don't want to go down that road. But more and more each day, it seems like its the only good road to go down now.

Thoughts?

What I find is that using a tonal system is a good way to establish a melody, but I found the harmonies are minified by it. As composing is my hobby, I don't particularly know all of the details behind why atonal is a bad thing, but I do know that by ignoring a few rules, I'm able to produce the sound I imagine rather than chisel away at the original idea to fit it into the tonal box. Also, bymeshing the tonal system and atonal systems into one to form a song generally produces something that's sounds refreshing to listen to and unpredictable yet not completely random; at least at a personal level. Comparing it to literature, it's like breaking away from the typical romance novel that follows the same pattern and evolving into a fairytale structure which is randomness in a rhyme.

I'm kind of with you, Etaroko. I think that classical music has started to go down a road where we're alienating our audience. I think atonality is a tool, not an end. I really enjoy this Mozart quote:

"Nevertheless the passions, whether violent or not, should never be so expressed as to reach the point of causing disgust; and music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music."

Par example: I think this (http://www.youtube.com/watch?v=50DmDaleJac&feature=related) is total crap. It does nothing for me, and honestly feels a little bit like a copout. Jeez, I would hate myself if I wrote that.

But atonality can be useful and beautiful and powerful. Check out the Higdon violin concerto that Hilary Hahn just recorded. The last movement of that is rocking.

Hey, Steve Mackey came to the U of U last year! I didn't get to go to that masterclass, though, and I wouldn't have gotten to present though; mostly only the grad students get to do that.

I definitely think there are different extremes that each have their uses. I have come to like a lot of atonal stuff over the past year that I never thought I would love, and indeed have written some atonal music that I have really liked. I also wrote some 12-tone music that was entirely tonal (which music became some of my favorite that I've written). The problem is that "atonal" is such an ambiguous word; it can be used in reference to so many different styles!

Also, I don't necessarily agree with that Mozart quote. I don't think music needs to always be beautiful and charming.

SO.
Lets talk about Atonality.

I went to a composition masterclass today with Steve Mackey, and I presented a piece, and he said. "Good, but, you need to get tonality out of your system."

Quite personally, I don't care for Atonal music. And I really don't want to go down that road. But more and more each day, it seems like its the only good road to go down now.

Thoughts?

I think a good way to use so-called "atonal" figures is by studying more Theory: I've been very interested in modal mixture, augmented sixth chords, secondary dominants (and extensions), and German-sixth modulations a lot lately. Personally, I think that these devices are a good way to add... "spice," for a lack of a better term, to a piece. Here's one example:

http://www.youtube.com/watch?v=N6sSzFp0qI4#t=07m02s (7:02).

Notice the Ab major chord used at 7:10 - it's a bVI chord and it adds a sort of new dimension to the piece.

But if you're talking about "pure" atonality, you should try experimenting. I've found out what works best in my case and have used it in every one of my compositions, and despite that, for example, my Childsplay is atonal, it doesn't sound "weird" to a lot of people because of the technique that I've acquired through experimenting.

@ Deathraider:

No, he definitely represents an extreme all his own. But I think you can see the fulfillment of that philosophy (and how it actually does work) in the Queen of the Night's second aria. It's at once terrifying and beautiful. But I think few of us have the personality to pull that off the way Mozart does.

About the Queen of the Night Aria, that's very true!

If I want to use a program to create a drum/rhythm/beat for my upcoming song (I've given up on finding a drummer), do you guys recommend cubase or sonar?

I only know Logic, but its "ultrabeat" plugin is pretty cool.

If I want to use a program to create a drum/rhythm/beat for my upcoming song (I've given up on finding a drummer), do you guys recommend cubase or sonar?

Sonar! The Cakewalk series is extremely powerful once you get to know it, and downloading and implementing plugins (instruments, etc) is very easy. I've been using Cakewalk since forever, and keep using it even with Studio work I've done recently.

If I want to use a program to create a drum/rhythm/beat for my upcoming song (I've given up on finding a drummer), do you guys recommend cubase or sonar?

Any of these two are great. You can also try to find someone with a keyboard that has a drum set integrated if it is turning so hard to find a live drummer.

It can also help to do some searching for MIDI drum loops. You can find a loop you like and tweak it to your composition. The good loops will have nice velocity settings for each percussive instrument.

By the way Noir7. I remember that you said you work for a game company in Japan. Can you tell us more about that? What company? Any games that you've worked on that are out or coming out?

Beauty and the Beast scene without dialogue and sound effects, just the music:

http://www.youtube.com/watch?v=ik0W-1pLckM&feature=channel_page

I found it exciting seeing that scene with just the music and remembering the Aquarium.

Edit:

The ending scene just with the music:

http://www.youtube.com/watch?v=smB6XnOeubY&feature=channel_page

Edit 2:

Check the guy's channel, there is more:

http://www.youtube.com/user/EmpireSB

:3 :3

:3

By the way Noir7. I remember that you said you work for a game company in Japan. Can you tell us more about that? What company? Any games that you've worked on that are out or coming out?

I did work for a game development company in Japan (In Yokohama) for about 4-5 months last year. It was rewarding and fun, and I worked a lot with already established composers providing them with additional pieces for their soundtracks.

Then I worked independently for a while with a group of 4 Japanese rock band members (from Harajuku, eastern Tokyo) for about 3 months, and we played small gigs around the Tokyo area, and one big event in Tokyo Opera City in January this year.

An (old) article about EMI (Experiments in Musical Intelligence) a virtual composer:

http://arstechnica.com/science/news/2009/09/virtual-composer-makes-beautiful-musicand-stirs-controversy.ars?utm_source=rss&utm_medium=rss&utm_campaign=rss

Personal website:

http://artsites.ucsc.edu/faculty/cope/experiments.htm

Somehow I didn't discover until just now how you can mix GPO and Softsynth/other soundfonts in a single file...

Somehow I didn't discover until just now how you can mix GPO and Softsynth/other soundfonts in a single file...

Its possible? I think I tried to do it once and it told be that I couldn't do it, or is it only with the newer versions?

Yes, because I just did it. I have 2008.

Everybody should watch around, The famous Black Friday is coming and I am sure a lot of software, synths, sample libraries, hardware, books and other stuffs will be in Special!

Edit:

*Acts like a spammer*

cinesamples


This Friday, for 24 hours ONLY Cinesamples is offering discounts of up to 40% on ALL LIBRARIES. (*Offer does not apply to DOW2 and VOXOS will be 20% off)

http://cinesamples.com/

Soniccouture:

http://www.soniccouture.com/en/


Musician's Friend is offering deals:

http://www.musiciansfriend.com/

Sweetwater also:

http://www.sweetwater.com/

That Hollywood Winds package sounds awesome!

Yeah, I was interested in that months ago. But eastwest is developing their own Hollywood Winds.

Talking of eastwest...

http://www.soundsonline.com/home.php?show=1

More specials from them (Like always, lol).

Ooo. Their Hollywood Strings sounds better than Symphonic Orchestra!

Yeah, Symphonic Orchestra is quite old now. Hollywood Strings was released early this year. The strings are just the whole section, solos are not included. Next year they will be releasing the "Hollywood Winds" and Hollywood Brass.

I got another e-mail from Native Instruments:


5 days only: 50% Off all individual KOMPLETE Instruments & Effects!‏

Native Instruments draws the curtain and unveils an unbeatable limited-time offer: Between November 25th and 29th, 2010, you can save 50% on all* individual KOMPLETE Instruments & Effects in our Online Shop! Choose from 70 professional products like our brand-new sound controlled synth - THE MOUTH, exclusive keyboard phrases with GEORGE DUKE SOUL TREASURES, the essential ABBEY ROAD DRUMS series, and even hardware like KORE 2 and GUITAR RIG KONTROL.

http://www.native-instruments.com/#/en/

Tonehammer:

30% OFF all products

http://www.tonehammer.com/?p=5487

Prepared piano (http://www.npr.org/2010/11/11/131245315/hauschka-gets-the-most-out-of-88-keys) . . discuss away.

I find it creative and interesting. Is not something new, but you get a chance to work with new timbres to add a fresh and interesting sound to your compositions. Which I like. :D

I find this guy's methods really fun because he uses such common-place items. I wish I was better at improvising...

What is sad, for me anyways, is having great music but the unless I use a live orchestra its all midi for me... yeah.... DAMN YOU PAVLOV!!!!!!

My arrangement for brass band and choir was performed at the Tabernacle in Salt Lake City last night; it wasn't half bad! :P

Is it possible to set a velocity limit in a DAW? Like not allowing some levels of velocity to sound.

Orchestral Percussionist:


http://www.xtranormal.com/watch/7892849/

Okay now that was way too true...

Orchestral Percussionist:


http://www.xtranormal.com/watch/7892849/


Okay now that was way too true...

XD

There are some inside jokes here, but a lot of it is just true for community choirs in general. XD

http://www.xtranormal.com/watch/7892265/

XD

Hey composers, Tonehammer is asking for suggestions for a new library.


YOUR DREAM
OUR COMAND
SUGGEST THE LIBRARY YOU WANT
HAVE IT MADE AND GET IT FOR FREE
WINNERS PICKED ON DECEMBER 11TH

http://www.tonehammer.com/?p=5791

I suggested a kitchen library and a recorder library. xP

This is the harder competition I have ever seen!


The humiliation must go on

SHOW US YOUR WORST COMPOSITION EVER

The WORSE - The BETTER

MOST SHAMEFUL COMPOSITION

WIN OUR BUNDLE 1, 2 and 3

SHAME AND WIN

Link:
http://www.tonehammer.com/?p=5920

Very creative way to gain more customers. :lol:

Was Time Frozen Farts recorded live? xD

Who knows. I think they have a fart library or a fart inside one.

Merry Christmas, fellow Ichigos composers!

http://www.youtube.com/watch?v=cy1l1PAvXCA

Merry Christmas Deadraider and to all the composers here!

Merry Christmas Deathraider, Nyu001, and all other Ichigo's Composers!

Sebastian, The Cyber Dirigent:


http://www.youtube.com/watch?v=L3uvJPH7O6M&feature=player_embedded#!

Ah, I have great memories of that piece. The high school orchestra I was in last year played this Symphony movement with kazoos. xD Well done in the video!

Hah, that was great! XD

So these days composers are relying more and more often on technology to write/perform their music. I'm old school, so I have some trouble keeping up. What are your thoughts?

It's like handwriting and word processors. It takes a while for someone to learn to type and at first it's easier to write by hand, but before you know it you'll be typing faster than you could ever write, you're cutting and pasting, aligning things left and right, restructuring the entire piece.

I don't know about "relying" on technology to make music. You've got midi editors that can edit a piano performance to perfection without knowing how to play piano, you've got samplers and virtual instruments that make it possible to score an entire symphonic film soundtrack without recording a single real instrument, while exporting everything as printed sheet music at the same time.

Obviously it means nothing if you have no creativity. So it's less about keeping up than it is about finding a combination that works for you. Some people seem like they always need the latest software, but for the most part it's more than you need.

Is there any difference between garritan Violin Player 1 and Violin Solo KS 1?

Yes! The Violin Solo KS 1 has a much more soloistic quality, including a more pronounced vibrato. It also sounds more realistic to my ear.

Interesting... Guess i should play with it a bit more
Is there a difference between Violins KS and Violins Arco besides it being in ARCO
And what about Violin Solo?

And the website says use KS whenever possible

KS I guess they are referring to "Key Switches".

KS is more versatile for playback because you can switch between arco and pizz. There might be other reasons but that's the main one I can think of.

It has many switches to use, this is the list from the manual:


C1 = Sustain
C#1 = Sustain mute
D1 = Automatically alternating up and downbows
D#1 = Upbows
E1 = Downbows
F1 = Pizzicato
F#1 = Playable tremolo mute
G1 = Playable tremolo
G#1 = Playable muted trills (extended intervals can be chosen with cc16)
A1 = Playable trills (extended intervals can be chosen with cc16)
A#1 = Playable whole step muted trills
B1 = Playable whole step trills

It is in the "The GPO4 User's Guide".

Oh cool. I think most of those are triggered automatically when you place markings in the score...

^Yeah, but if you are in a sequencer you will be using notes from the piano editor to switch.

________


I am seriously not using FL Studio's algorithmic Reverb anymore...

True. I assumed we were talking about Finale GPO, I guess...

What do you learn first, harmony or counterpoint?
I have Tonal Harmony and The Study of Counterpoint, here....so which do I go through first?

Well, at university the "counterpoint" class is often in your fourth year, while you do harmony and basic counterpoint in your first three theory classes.

^Ah, okay. Well, Tonal Harmony says it's for theory I and II, and I'm pretty sure Study of Counterpoint is good counterpoint for beginners from what I've heard, so I guess I'll just switch between them whenever I get bored with one of them, hahah. =D
I'll start with Tonal Harmony, though, since you say serious counterpoint does come last. Thanks deathraider!

Edit: Oh God, so many chord examples to play through. (What was I expecting in a harmony book? lol)
Ah well. I guess I can become decent at sheet reading by going through these books, too!

Have fun learning from these books. :)


By the way, does anyone know what piece of Mozart has a horrible F. Horn writing? I forgot which piece was that.

What do you learn first, harmony or counterpoint?
I have Tonal Harmony and The Study of Counterpoint, here....so which do I go through first?

Yep, as deathraider said, you learn harmony first. Quite honestly, if you have the sixth edition of Tonal Harmony, you could easily have a good background in Theory I to IV, and a little bit of 20th Century Techniques (sometimes done in the fifth semester).

Yep, as deathraider said, you learn harmony first. Quite honestly, if you have the sixth edition of Tonal Harmony, you could easily have a good background in Theory I to IV, and a little bit of 20th Century Techniques (sometimes done in the fifth semester).
It's the fifth, actually. (It was $15 instead of almost $100, and I'm poor, hahah! =D)
But you're right; I misread the forward in the book. It says it's made for a two-year learning period, which I misread as two semesters. I guess two years is actually four semesters, so Theory I to IV, like you said. So, yeah. Even better, hahah! I'm really excited. I've been wanting to compose forever, but I never knew where to start, even though I usually have a nice melody or two floating around in my head.

I'm looking forward to working with you guys. Hopefully Ichigos will have another good composer soon!
It'll probably be awhile before I'm skilled enough to give any of you guys real advice, though. X3

Yeah, Tonal Harmony was the book we used at my first university, but at my current school we use Laitz's The Complete Musician. While the theory teachers at my current university are in general more knowledgeable, I actually liked Kostka's methods a little bit better.

By the way, does anyone know what piece of Mozart has a horrible F. Horn writing? I forgot which piece was that.

Anything else you can remember about the piece that would help us to help you?

No. I searched in another forum where it was mentioned years ago but I have not found anything yet. I am thinking it was more of a bad notation that makes you say: what?!?! As I recall that that was my expression.

Looks like everyone here uses FL Studio. Is there a reason for choosing that over other DAWs?

Maybe because it offer free updates?

I have seen a lot of bratty kids using it (from youtube and other forums), also a lot of people that make urban music use it too.

I use it because it is what I started using years ago and I got used to its system, and it serve me to most of my needs. Although, I have been thinking to move or better to say to add another sequencer (Cubase). But I do not want to spend money and I would have to take my time to get use to it.

Looks like everyone here uses FL Studio. Is there a reason for choosing that over other DAWs?

FL is easy to jump in on. Other DAWs, such as Propeller Head's Reason, requires a bit more time to figure out.

I forgot about this totally. SOS awards, was on January. If anyone do not know of it, you can look at the winners here: http://www.sosawards.com/


*Paste*

Best Computer Audio Interface:
RME Fireface 800

Best DAW Software:
Apple Logic Pro

Best Effects & Processing hardware:
Lexicon PCM96

Best Software Plug-in Effects:
Lexicon PCM Native Reverb

Best Software Plug-in Processing:
Celemony Melodyne Editor

Best Hardware Controller:
Avid Artist Series (formerly Euphonix)

Best Keyboard/Synthesizer:
Access Virus TI

Best Microphone:
AKG C414 XLS

Best Audio Mixer:
Solid State Logic Matrix

Best Studio Monitors:
Adam A7X

Best Hardware Audio Recorder:
Zoom H4N

Best Microphone Preamp:
Focusrite Liquid Channel

Best Software Instrument:
Native Instruments Kontakt

Best Sound Library:
EastWest Symphonic Orchestra

Best Studio Headphones:
AKG K240

Sound On Sound Editors' Choice:
Slate Digital FG-X Virtual Mastering Processor

Did anyone here entered the NASA's contest?

There were 1,350 entries! :O

https://songcontest.nasa.gov/home.aspx

I was going to, but I didn't get any inspiration, damn.

Alphonso and I have finally managed to meet after a couple years of living pretty close to each other. That makes 2 Ichigos composers that I have gotten to meet!

Also, as of the second half of April, I am not going to be on the forums for the next 2 years (for the same reason that Alphonso was absent for 2 years).

Where you going? :cry:

Florida (the west side of the peninsula)! I'm going on a mission for my church.

Oh, we may be in the same state! If I really end moving there...

I had actually thought of that! :)

Today I saw this website that has a list of composers' scores that were rejected from films or TV.

http://rejectedfilmscores.150m.com/list.html

That makes me feel better... ahahah

Did anyone here entered the NASA's contest?

There were 1,350 entries! :O

https://songcontest.nasa.gov/home.aspx

NASA opened voting! 10 tracks were selected. Put your cursor over the track title or artist name to see text added.

https://songcontest.nasa.gov/toporig.aspx

The Top 10 Composers (http://artsbeat.blogs.nytimes.com/2011/01/21/top-10-composers-the-final-list/) - controversial

Eiffel Tower set to music (http://artsbeat.blogs.nytimes.com/2011/04/05/composers-eiffel-tower-plan-is-approved/?partner=rss&emc=rss)

Good Bye to Deathraider for 2 years! :cry:

Supernova Sonata (http://apod.nasa.gov/apod/astropix.html)

Whoa, that's pretty sweet!

http://youtu.be/GaoLU6zKaws

I thought you guys might like this.

The Radioactive Orchestra (http://www.nuclear.kth.se/radioactiveorchestra/)

Do you guys remember Kevin Penkin (http://forums.ichigos.com/showthread.php?13770-Kevin-Penkin.-My-Music&highlight=Kevin+Penkin)? I heard today that he will be working on a video game soundtrack with Final Fantasy composer Nobuo Uematsu and Dog Ear Records! Congratulations to him!

He was taken up in a magazine too!

Future FF composer, I got dibs on his first autograph! ;)

Wow! Congrats to Kevin! :)

EDIT: So... you know how there's been a general desire for Theory lessons on here? I'm teaching a Theory course this summer and would be happy to post a new thread on some stuff if any of you guys would like me to do so. :) I could also do Orchestration stuff (although, admittedly, I haven't taken a formal class on it).

He should take a look once in a while here at Ichigo's. :P And Clarinetist, maybe you should PM Porsche about that. Maybe both of you can work together in the courses. :)

Tonehammer is closing and they have a 50% OFF! that last until July 31!

http://www.tonehammer.com/

So... you know how we'd like to get some Comp. Contests going monthly? Here are some ideas that I'd like to share with you guys for the August contest:



Given a rhythmic/pitch (or combination of the two) motif, compose a piece - minimum length: 3 minutes.
Ask those who would like to participate in the contest to choose a # from 1 to 50. Each number is associated with a composer. Each participant will write a work, attempting to mimic the composer's style.
Write a twelve-tone piece.
Write a piece that requires a parallel 2nd/7th/etc. for each note that is heard (e.g. if my first two notes are C, I have to have a D or a B at the same time; D, then C or E at the same time)
Write a piece based off of a mathematical constant.
Write a piece based on poetry.
Given a 30-second except of music, continue the piece. (4 minute minimum, including 30-sec. excerpt.)
Given a melody, continue the piece. (3 minute minimum.)
Write a piece based off of a chord.
Write a Theme and Variations, given a Theme.

Also, the 10th anniversary of September 11th is coming up. We could do a competition on that theme. Though, that might be a little unfair for me since I just finished a piece along those lines.

Yeah, that's a lot of ideas you have, clarinetis. Additionally I have following ideas:

- Write a composition to a picture.
- Write a piece to a video.
- Write a piece with a fixed chord progression, but an own choice how long each chord takes.

Do we want to put Clarinetist's new theory lessons in its own folder? 'Cause we're getting a lot of sticky threads up top these days.

Do we want to put Clarinetist's new theory lessons in its own folder? 'Cause we're getting a lot of sticky threads up top these days.

I'll talk to the admin to see if we can arrange that. :)

I'm also going to create a thread so we can talk about future contests more. Give me a few minutes to end the one just about to finishes. :lol:

Sorry, guys, it looks like I'm not going to have enough time to continue on with the Theory lessons this summer. If (and when) I ever have time, I'll do my best to continue them. The syllabus of my class is attached below, for anyone that wants to continue on with what I've done here.


"Equivalencies" refer to www.musictheory.net/lessons .

• June 5: Introductions, Course Expectations, etc. Introduction to Rudiments. Equivalencies: “The Staff, Clefs, and Ledger Lines” to “Key Signatures.” Skip “Scale Degrees” and the “Rhythm and Meter” section.
o Written: Pitch notation (including accidentals), rests, rhythm notation (including dots, ties), key signatures, and time signatures. Introduction to the grand staff.
o Aural: Relation of pitch notation to keyboard, recognition of scales and intervals (intervals in major mode only).
o Assignment: Write all notes from C4 to C6 in treble clef as whole notes. Do the same in the bass clef from C2 to C4.
o Have all notes memorized by sight (musical notation and keyboard).
o Go to www.good-ear.com to help you with hearing intervals – prepare yourself in advance of the next lesson. When you enter the site, click on “Intervals,” then “diatonic intervals up” or “diatonic intervals together.” I suggest that you try both of these. On Exam 2, we will mainly focus on “diatonic intervals up.”
o Have all key signatures and corresponding major modes memorized.
o Have all elements of rhythmic notation learned today memorized.

• June 12: Rhythms, Intervals. Equivalencies: “Simple and Compound Meter,” “Odd Meter,” “Generic Intervals” to “Interval Inversion.”
o Exam 1: Note identification (keyboard and sheet music notations), notation of clefs, pitches, and rhythms; identification of key signatures and corresponding major and minor modes.
o Written: Minor scales (natural, harmonic, melodic), rhythm notation, meter (types of meter, divisions, subdivisions, etc.), accents (agogic, metrical, dynamic), and an introduction to intervals.
o Aural: Introduction to rhythmic dictation and solfege; intervals (addition of the minor mode), and scales.
o CD Assignment: Notate the rhythms of the melodies that you hear in each track.
o Be able to recognize all intervals within an octave aurally and visually. I suggest www.good-ear.com to help you with hearing intervals. When you enter the site, click on “Intervals,” then “diatonic intervals up” or “diatonic intervals together.” I suggest that you try both of these. On Exam 2, we will mainly focus on “diatonic intervals up.”

• June 26: Chords, Chromatic Intervals, and an introduction to Musical Analysis. Equivalencies: “Generic Intervals” to “Interval Inversion,” “Introduction to Chords” to “Diatonic Triads.”
o Exam 2: Major mode intervals, rhythmic dictation, intervallic dictation, notation, key signatures, pitches, rhythms, time signatures.
o Written: Addition of accents (agogic, metrical, dynamic), minor mode intervals and tritone, interval inversions triads (including sus4), figured bass for triads and inversions (with alterations), with the addition of the dominant seventh chord. If time permits, an introduction to Roman Numeral analysis will be added.
o Aural: Intervals (both major and minor modes), triads, dominant seventh chord, and review of cumulative skills.
o Go to www.good-ear.com for interval review. The website also has a section on triads (click “Chords” then “major and minor” or “simple chords”).

• July 10: Introduction to chordal tendencies and analysis, and part-writing rules. Addition of seventh chords. Last day of Rudiments. Proficiency on intervals is necessary today. Equivalencies: “Voicing Chords” to “Roman Numeral Analysis: Seventh Chords.” Skip “Analysis #1” (if you want to) and “More Seventh Chords.”
o Exam 3: Cumulative exam.
o Written: Introduction to intervallic tendencies, Roman numeral analysis, and part-writing rules; figured bass and inversions for seventh chords. Review session if time permits.
o Aural: Review of intervals, triad qualities, dominant seventh chord, scales, etc.
o Memorize all part-writing rules. Do the analysis problems that I have assigned.


• July 17: Introduction to Music Theory and cadences. Equivalency: “Scale Degrees,” “Common Chord Progressions.”
o Note: Fluency on reading musical notation and analysis is expected.
o Exam 4: Final Exam on Rudiments (cumulative).
o Written: Theory of Chord Classification (descending fifth sequences), Theory of Primary Function, and Hybrid Theory (including I 6/4 chord); Chord Ellisions, Predominants, names of triads built above scale degrees (tonic, submediant, etc.). Review of part-writing rules and analysis techniques. Introduction to error detection.
o Aural: Review of intervals, triad qualities, dominant seventh chord, etc. Introduction to chord functions.
o Review all part-writing rules, do the analysis problems assigned, and memorize all of the theories/rules learned today.
o CD assignment: We will start doing melodic dictation and cadences. Practice is essential before the next session. Review your intervals and scales. The next exam will mainly emphasize analysis and cadences.
o Keep all part-writing rules to memory.

• July 24: Introduction to melody writing, melodic dictation and part-writing. Equivalency: “Triads in First Inversion,” “Triads in Second Inversion.”
o Exam 5: Names of scale degree triads; Theories of Chord Classification, Primary Function and Hybrid Theory (for those of you who haven't heard these names before, it's just the iii -> vi -> ii/IV -> V/viiº -> I deal); part-writing rules and error detection; Roman Numeral and Figured Bass analysis. Cadences (aural and visual aspects) and analysis; part-writing rules and error detection.
o Written: Application of part-writing rules, introduction to melody writing. Introduction to inversion part-writing (diminished triads and tendencies), 6/4 chords.
o Aural: Intervals (if necessary), chords, melodic dictation.
o CD assignment: Two-voice dictation. Practice is necessary, along with review of scales and intervals. Note that I do not expect you to be proficient in dictation next week – get practicing!
o Have a list of two of your favorite pieces/songs ready by next session.

• July 31: Introduction to two-part dictation and composition.
o Exam 7: Part-writing rules, detection of errors, and analysis. Anything taught prior to June 17 may be on this exam.
o Written: Application of part-writing rules.
o Aural: Melodic dictation, two-part dictation.
o For dictation: practice makes perfect.
o Start composing! I would like you all to write me a piece for solo piano.

If you look at the timeline, yes, I was basically giving my students a very rigorous class. :heh: Wish I could do the same on Ichigo's right now - but I can't do it anytime soon; college life is approaching (yet again). Thanks for everyone for letting me get a start on this!

Stravinsky was so short!


http://www.youtube.com/watch?v=t-FzkDuqF7k&feature=channel_video_title


http://www.youtube.com/watch?v=PlTxdN04-j4&feature=channel_video_title

Do you guys prefer to compose the melody or chords first?

I go with melody first.

I often write melody first, but the piece I'm working on now came with the harmony first.

Could be both for me. Depends on which one comes to me first. Sometimes I write the two together.

Composing soundtracks for e-books? (http://www.dailymail.co.uk/sciencetech/article-2031089/Thats-end-quiet-read-Now-ebook-comes-added-sound-effects-songs.html)

Perhaps this is a potential career path for some of us here?

It seems interesting that try. I would prefer no sounds when reading unless it has illustrations.

And if you have illustrations, you might as well make it voice-acted, and suddenly you have a visual novel. :P

I much more preferre a visual novel over this idea. Although I did watch some mangas(Dragonball AF) with BGM to it on youtube that I didn't mind either even though it had no voice acting.

Does anyone here use WWise, FMOD or any other for write adaptive music for video games?

My string quartet is going to be played ON THE RADIO! "Classical Discoveries," a WPRB Princeton program is doing a program of just 9/11 music, and my quartet got selected to be on it!!!! Check it out:

http://www.classicaldiscoveries.org/we_remember_september_11.html

Congratulations!

In answer to my own question, I prefer to compose the melody and harmony together. You can't have one without the other, so it just makes sense to write them simultaneously. But if I'm unable to do so, then I'll just figure out the harmony first as I can always tweak the melody accordingly.

Does anyone here use WWise, FMOD or any other for write adaptive music for video games?
I´m interested in that, I program my own videogames and I want to compose also the music for them.. I don´t know what are WWise or FMOD, I use my Finale as always ^^'
I´m not so very good in videogames / films music, but not bad, >.<

These are not for make music. It is to determine the behavior of audio in a game that uses adaptive music (Non-linear music). It's more of a sound designer tool. I have never used it. I want to learn more about it and see its benefits.


In another musical note. SOS Awards are back once again(Sounds on Sounds Awards).

http://www.sosawards.com/

Where do you guys see the future of music and composition heading?

Nice one sir.

Good question Al. Hard to answer, I think.

I am still waiting for what is going to be the next "hit style" in my country. It has been years already since a music genre emerged with a really strong power.

Talking about The Dark Knight now. Hans Zimmer wants people worldwide to form part of the Dark Night Rise soundtrack:

http://www.ujam.com/campaigns/darkknightrises/introduction