Caveats abound - it's still a fairly new project, and we just released a new build of the site in terms of front-end UI and functionality.  Part of this is the 'Top 10' landing page for each composer.

We have so far cataloged the complete works of Beethoven, Chopin and Rachmaninoff, and a few others.  Many others have their Top 10's populated, and we should have this coverage for the historically major composers in the next month or so.  One thing that's really cool, in my opinion, is our YouTube matching logic.  We take results from the YouTube api for each work listed, then perform a match / filter / sort algorithm to generate our own results.  So, for example, we have nearly 100 complete performances of Beethoven's 5th listed before the rest (of which there's a lot of course).

Looking forward, we have a several enhancements lined up.  High on our list are features aimed at music teachers and students, which should help us to get the site into the hands of young musicians, so they begin using the site to discover this great music.

I would like to ask the community here, being the new generation of composers, about ideas for tools that might be helpful to you.  For example, something I would like to do is provide a toolset to composers so they can manage their own page and compositions.  I would also like composers to potentially manage their own YouTube movies links, as for modern works there may be no movies on YouTube, or they may not be detected by our code (either due to limitations on our code, errors in tagging by the uploader, or the YouTube api itself not giving us the movie).

We are also open to any other ideas for the site, and changes which might be helpful for you to promote your music.  The most basic question to ask of course - would you actually use this site if we provided the tools for you to manage your compositions in this way?  If not, why not?  What could be added / changed that make it more appealing?  All comments much appreciated.

Thanks,

David

It would be appreciated
if u could have a Consultation.

The question is the
sequence of making an orchestral song with many instruments. For example I am
working on my own song it has strings, contrabass, choirs and many instrument else.
Ok? But now I am in Deadlock why? Because

I am working in Sibelius and
I want to add some ambient sounds need instruments like Chime and a very big cymbal.
Here it has not. Now my result is Sibelius is not for all works I should write
the parts only. I should not expect that I can make all of works by this
software.But when u have an idea you should make it so quick else may be disappear
and lost your ideas. So how do u work? How do u start. And how do u finish the song.
Sorry for my English language problems. I am not native.

Thanks

Touradj

Let's suppose you can compose and play a continuo on the keyboard, how do you orchestrate it? How do you give a little paint to the drawing?

What are the source of the epoch that can give you some tips to go?

Thanks

I use standard stuff: Sibelius 7, Windows Media Player 

Apologies if this has been asked before..

Thanks.

I have a question and I need
to know the answer . it will be appreciated if you could tell me about. In some
song specially classics. We have violins play together and they repeat and
repeat a short melody till end of song. What is the name of technique or what
is this short melody name. In rock band we have something like riffs. “Smoke on the
water” is one of best example I need to know about it in classic songs.thanks for your considerations.

Best regards
 

Touradj

Currently I am looking at going to UGA (University of Georgia) for an Undergrad Composition. From here I am looking at going to Graduate School in a more lucrative place local (such as Belmont, Bervard, Furman, etc) to do a masters in Conducting with a possible concentration in Wind Band. Then again going up for a DMA or PhD (Still lost in the difference) up in Cincinnati, Julliard, and more of those upper schools.

My hope is to teach higher ed, be a clinician, be a composer, be a conductor for a big ensemble, or basically that path. I was wondering if the people here have much experience to pick my mind and give me advice. I LOVE conducting and I LOVE composing. I feel like it would be a great life for me.

I beg you to ask me questions, point me to people, point me to websites, and give me advice just because I want to be informed.

Thanks

-Patrick

I have worked out  the first 8 bars but not bars 5 and 6 :

[G        ] [D        ] [D        ] [G        ] [?        ] [?        ] [D     A ] [D        ]

Can you tell me the chords for bar 5 and 6? cheers!

http://youtu.be/bzPI5z1cYvc?t=20m6s

http://promoshq.wildfireapp.com/website/6/contests/318481/voteable_entries/67353975

Vote for it if you like it and thanks for support!

In the simplest language you can muster, what are the rules for writing accidentals?  

When a note you need for a chord is not included in your current key, how do you decide whether to write it as an A# and when as a B flat?  When a C flat vs. a B natural?  And when is it appropriate to use double flats and sharps?  

Here's my best guess at some rules.  If someone could tell me where I'm correct, where I'm wrong, and what I'm missing, I'd appreciate the help.  I never took theory, so please click your tongue at my ignorance and take pity on me.  

1.  Take a look at your piece.  Pick the key signature that will produce the fewest accidentals for your piece.  

2.  If you have an entire stylistically distinct section of the piece that is full of accidentals, change the key signature for that section to reduce them as much as possible.  

3.  If you just have some modulations for flavor here and there within a section, that's where accidentals are appropriate rather than a new key signature.  

4.  If those accidentals fit nicely into another key, use the sharps or flats appropriate to that key when writing the chord in which they appear.  For example, if I'm in C major, and then need an occasional F# instead of an F natural, I could think of it as swinging into the key of G major for a moment.  Since G major has F#, I would write that note I need as F#.  There is no key that has G flats, but no other flats, so it wouldn't usually make sense for me to write that note as a G flat.  Unless...

5.  Would an exception to rule four being something that's modal?  Then it makes sense to express those fun notes in the way that suggests the mode.  So if my key signature is C minor (B flat, E flat, A flat), but with a locrian feel to the section, so that I have diminished fifths...  G flats/F#s.  It would be most appropriate to write them as G flats to suggest the locrian mode?  

6.  Would another exception be when you have some modulations, say where the whole chord shifts down a half step, and then down a half step, and then down a half step..., and that pattern becomes apparent at a glance if you get into double flats and such, instead of reducing the number of accidentals as much as possible?

I'm looking at "When Mary thro' the garden went" by Stanford, edited by Rutter, and thinking to myself, why, John Rutter!  Why!?  It would be so much easier for the average choral singer to read if you would just consistently reduce to the fewest accidentals.  But is it meant for the eye of the superior musician, who can manage to keep track of all four parts at once, while sight-reading at tempo, and think to themselves, ah ha! I am now the 4th in the diminished globbublub chord.  Of course!? 

I admit, I don't know theory.  But the scholar writing the paper on Stanford can clearly take the time to figure out the enharmonic transpositions, and discuss the interesting structural things going on with the harmony.  I, the musician just need to be able to sight-read at speed.  Somebody explain the value of writing this way.  Why not just reduce to the fewest accidentals?  I know this only came about with the common practice period.  Why?  

And what are the rules?  

I'm writing a piece with lots of exciting chords, and I know someone is going to look at me like I'm nuts, and sweetly point out that something I've written as a natural, because... you know... fewer sharps and flats...  easiest to read that way, should actually be a triple sharped something else.  Or that, although my key is full of sharps, that one particular note should really be expressed as the flat enharmonic equivalent.  

Point me to a good book?  Anyone?  (:

-Maggie

Here are two screen shot.

First one is how I understand that  my last question for  irrational rhythm 9:8.

 I accept  that That was not really poly rhythm.

It is like  an irrational rhythm. Thanks again for teaching me.

So far I am  still struggle with irrational rhythm things. please have a look second screen shot.

First bar , we have a five eight time signature and some irrational rhythm such 7:8 and 3:5.

I do not fully get it however I suspect that the lower one is subset of upper one .

What I first have done was look at the inside one.

 I divide  eight-rest to  64-rest and make a  group triple 8 time.This is for space 8.

But I could not make a  7. becauseIt doesn't fit it time of 24.

It seems to be ridiculous to me. Can somebody explain to me ? and please give an advice when I am study irrational rhythm things.

Like a simple method or  step by step approach  ? 

Thanks for your time

cheers

Lu

First a little bit about myself: I've got no musical training whatsoever, but I love listening to music. My younger brother studies the piano and I used to sit and play chords, scales and anything that came to mind. Year 2013, my wife bought a synthesizer because wants to learn to play the piano but soon she loses interest and I pick the instrument to continue my old habit of playing what comes to my mind.

Owning a Mac and a DAW (logic pro) I decided to actually try to compose  real music, so I've been studying music theory. My knowledge is still minimal but I'm not a total noob either, and I have gotten some ideas that, at least to me, sound nice and worth of exploration.

Now my problem: I've got a melody and basic arpeggio that goes through 13 bars in 4/4. The progression goes fom Cm and return to Cm at bar 13. After this I'm stuck... I don't know how to continue. Improvising as I always do I've have written some other ideas but they still lack the connection to my main line. So guys, what should I do in order to continue developing my piece of music? Are there rules or guidelines to follow in order to go from A to B and eventually  link everything in a coherent way?

Thanks a lot for reading!

I'm in the process of expanding my composition studio, particularly during the summer months.

I offer Skype-based lessons (iChat as well as other platforms) in composition.  My teachings have covered all styles, ranging from contemporary 'classical' (no stylistic limitations!) to electronica, film scores and jazz.  I have also taught counterpoint, orchestration, and electronic music techniques (Digital Performer, Max/MSP, etc.).

I have had more than a dozen years teaching at the University level.  My undergraduate students have gone on to graduate programs in the US and Europe.   I am published by CF Peters, and have had my music played in major festivals and concerts in the US, Europe, Japan, and South America.

Please contact me regarding rates and scheduling.  I will be happy to answer any and all questions!

You may respond to this post or email me directly at anthony.cornicello@gmail.com

Thank you,

Anthony Cornicello

I am learning  composition everyday and get to know more about polyrhythm and finally wanna using my composition as small elements.

please see screen shot .

we have 9:8 poly rhythm in 4/4 on score.

What I have my mind is I can see  common denominator 72 in 9:8 and split 9 into space  8.

But I can not related  how 9:8 poly rhythm take two beat in 4/4.How many value take one beat in this case ? and  which notes  divide 72 as subdivision.

What did I missed to fully understand this concept ? What do I have to understand first ?

Or Did I complete misunderstood

Or It's just  stupid question ?

Can somebody help me  please ?

Thanks in advance.

Lu