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  3. Community

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    3. Composers' Headquarters

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  4. Competitions and Collaboration

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  5. Technological

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  • Posts

    • Good job overall. A few things to loot at:
      I like how you start calm and increase the intensity by adding more instruments. An upward scale in the bass and a downward scale in the treble at once sounds a little awkward.
      0:16 and 0:27: F3 and G4 do not go together, awkward
      0:19 and 0:32: awkward
      0:37: A4 doesn't belong
      0:50 and 1:12: E6 sounds a bit awkward here
      0:57: A4 sounds awkward here, there should be a D4
      1:7: baseline does not match other notes harmonically
      1:18: there's a little gap in the horn part
      1:21-1:26: this figure should only repeat twice
      1:22 and 1:25: A preferred over B
      1:35: A and D do not fit here, use G, B and E instead
      1:37: awkward
      1:40: the coda of the exposition could start here, everything from 1:40-1:56 should be replaced or removed
    • Thank you for the help :D Got some ideas for the percussion on this song now and ill try to develop the melody some more :)
    • Thank you for your response. I looked for the score online, but I could not find it without paying. So I just listened to a recording of it and I read the wikipedia page. Do you have a score or could you explain how it is notated? This way of narrating is in my opinion too static for telling a poem. In Britten's piece the narrator is almost always speaking in the spaces where the orchestra does not play instead of speaking while the orchestra is playing. My idea was to have the voice tell the poem while an ensemble is playing programmatic music. I will add the score when I am online on my laptop to make it clearer.
    • Hi GiantsGiants I agree with Gustav....  Certainly length and make a smoother outro..  It could use some further melodic development..  When working on a song, especially if a different genre than I usually do.. I use one of the most valuable internet tools..   YouTube..  Search out other music, similar to what you are doing or what you want to do..  I write out very detailed analysis..  I use graph paper for each instrument, and have developed a kind of 'shorthand notation for it.. often using different colored felt tip pens, to notate, differences.. symbols, squiggly lines..  I draw each track out (as best as I can determine from listening..  how/when each instrument comes in, does it loop around?.  are there variations in the loop.   This will give you a guide line for your own work.. You can use the outline you made from the studied piece, and substitute your own musical motifs, etc..  Take note of the different kinds of sounds used, how many are there..  analyze different pieces.. how long does it keep your interest..   There can be ambient music, which is quite fulfilling, then there can be what I call 'audio wall paper'.. and for some situations, 'audio wall paper does the job.. It is there, fulfills a certain need, but does not draw your attention away from other things.  (visuals happening, a narrator, etc).. AND you are off to a decent start...  Start to be aware of 'patterns' in music..  rhythmical, sound families, certain types of pad sounds, percussion.  gentle orchestral percussion, can add a lot.. cymbal rolls, small exotic instruments,  4 bars on/off of a maraca, or seed gourd type instrument..  The possibilities are endless.  Happy hunting, and composing.. 
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