Jump to content
Young Composers Music Forum

Leaderboard


Popular Content

Showing most liked content since 07/21/2017 in all areas

  1. 3 points
    Greetings YC Family! It's been a long time since I made a post and visited the forum. For those of you who may recognize me, you know that I was once an administrator on this site. My years on here have aided me in my ventures within the past decade. One of these ventures was the setup and creation of an online radio station devoted solely to promoting the works of new and emerging composers. This post, thus, serves two purposes: 1. To promote Et Lux Radio and encourage each and everyone of you to listen to the music of your peers as it is broadcast 24/7. and... 2. Make a formal call for live, or rendered, recordings of your works along with a signed affidavit giving Et Lux Radio permission to include the works within its broadcast. Submitted recordings need to be downloadable and in .mp3 format. They can be for any instrumentation and must be under 25 mins in length. Please include in your submission a brief biography and any related program notes for your works. Submissions can be emailed to jaowoodr@gmail.com! Thanks and I look forward to hearing your works!
  2. 2 points
    I was randomly bored, and an idea came out of nowhere to my mind. A collaboration of multi-genres! The idea is, every composer taking part will create a small composition that fits with the theme of the full composition. The combination of different genres might not always sound like a decent idea, but it can work. And with the skills of the composers in this forum it can work very well.. but we encounter an issue which is the difference of tools used.. Therefore, lots of mixing and editing will have to go into this (I can do that, unless anyone feels they're more capable.. I'm not the best at it), it won't be an easy project unless we want some crappy result. Based on the number of participants the segments will be divided. Also the full length of the composition will be voted on once there's a decent number of participants of about 4 or more. So basically, I'll have to start the composition, giving a general idea on the theme to be followed, for example.. grief.. victory.. relief.. misery.. etc... But before that, what are you opinions of this idea? Participants @Maarten Bauer @Monarcheon @ilv
  3. 2 points
    Who told you that you cannot sing or is it your own opinion? If you love to sing, sing! Listening to all kinds of music (Popular, Jazz, Reggae, Classical etc.) is very important too. Try to figure out why the music sounds the way it sounds and why it contains the emotions you feel. Which chords are used and what is its effect? Which instruments? Which rhythm? Which dynamics? Acoustic or electric? And so forth.
  4. 2 points
    I don't think there are any manuals to know what to do. But, on the other hand, I don't think either you need lots of years to reach a good level. Of course, you never stop studying music. Perhaps, in your case, you should focus on the scales of each chord. That includes what notes are chord notes, what are tensions, and what are avoid notes. You start with major mode and its seven chords-scales. In melody, to be sure, you put chord tones and tensions in strong places, and every note you want, including avoid notes and crhomatic ones in weak places. What are strong points? The beginning of the measure, an also the beginning of every division of the measure. Also, a tone followed by leap or by silence becomes a strong note... Well, there are many things about this. And besides, when you know the essentials, you can break the rules and make other things supposedly "wrong". Being self-taught is hard, many times you don't know if you are right or wrong, if you don't have anybody to tell you. But being self-taught is also a challenge.
  5. 2 points
    I wrote a piece for my orchestra director a while back as our graduating class left his instruction and I was so awful at modulations. Like, they work, but they're embarrassing. The standard issues like modulation and crossed voices are here sometimes, but generally I think the classical nature of it works, but it's too docile for the energy I see in the orchestration. I think you can also spend time on dynamics more; it's really vague and/or general when some of your lines don't exactly lend themselves to interpretation as easily.
  6. 2 points
    I could also write about some of our history, which could be quite interesting. We'd need to get a few of our old guard members on board to help though.
  7. 1 point
    This is a great start! Going forward, I would suggest you think about ways to use the left hand more in your piano compositions. In this piece, it never has the starring role. If this was an orchestra piece, those bass notes would be played by a few sad orchestra members, who would never have a chance to lead the music. Even though this is piano, and technically, all notes sound the same, if you think of each musical line as being played by a different person, it's easier to give each part more character. Let the right hand respond to what the left hand has just said, and elaborate on its statement, and vice versa. There's nothing wrong with what you've written, but it could have more impact if the musical texture didn't stay the same all the way through. Thinking about ways to vary your rhythms, or the meter of your piece is another way to attack the same problem, but from a different angle. It can give you the kind of contrasts that help your work feel more like a conversation, or a narrative. For a short piece like this, it's not as important, but it's a good skill to learn going forward as you start composing longer works. It can help propel the music forward in a structured way. That said, this had some good harmonic changes that kept the piece moving and you transitioned between them smoothly, which means you're probably further along than you think! Nice job and welcome! Oh, and it's easier for people to give you specific feedback if you post a pdf of a score along with the audio file. The we can cite measure numbers and notes more easily. (:
  8. 1 point
    I'm assuming you like the sound this produced, kind of Boulez or Webern in nature, so fair enough. I will just say, I'm not personally a fan of that kind of applicative-aleatoric sound. My only thing to say I guess would be your nested tuplets are kind of harsh especially with the mixed meter you use. Interesting stuff... I don't have this kind of patience to write this kind of music.
  9. 1 point
    Sorry, Maarten, I think something was up with the MIDI sounds. I listened to the MP3 version and the instrumentation sounds correct. I really appreciate your contribution. Thank you. At Mms. 11 and 14, I had to split the double stop in the first violin between the first violin and cello because the notes in that double stop are only possible on the violin's lowest G string, making it impossible for a violinist to play those two notes simultaneously. As a rule, double stops for violin cannot include multiple notes within the range G-C-sharp/D-flat (C-F-sharp/G-flat for viola and cello) because these notes are only possible on the lowest string and cannot be played simultaneously. At Mms. 45 and 46, I don't see the real point in having violin 2 and viola playing the exact same double stops, so I spit the double stops between the two instruments. Is there a reason why you did this? The opening I gave is too short and I better correct that. Also, could you tell me where you put pizzicato indications and in which parts? Where are the arco indications? They went missing in my score, and I'd like to add them to my score. Thanks.
  10. 1 point
    Hello, my name is Uri Zafrir, 24 years old pianist and future Rabbi from Israel. I've been playing the piano from the age of 5, and composing from around 15. I know most of the classical repertoire by heart, and have a degree in music from University of Tel Aviv I've recently composed this new piece for piano. I'm the performer. Would love to hear opinions, constructive criticism, etc. Uri
  11. 1 point
    Tobias, I think this is more what Maarten had in mind.
  12. 1 point
    This is an amazing idea. You guys have suggested great magazine ideas. Here's my thoughts: 1. Music-related informative articles and site history sound like great ideas. 2. In terms of selecting compositions to be featured, first of all, the composer must give their consent for their work to be published. Then, we can have all YC members vote on the works that can be published. The top # works with the most likes could be the ones chosen for publishing. Completed collaborative works should always be published, since they're extra special, unless a collaboration contributor doesn't allow it. I am willing to help judge compositions. 3. We can publish all member advertisements, announcements, masterclass announcements and competitions with permission. 4. We can publish the list of winners of each competition.
  13. 1 point
    I like very much the first part, a little bit ambiguous. I don't know if you follow here a sort of music form or if it is music that goes on and on. The rhythmic pattern is constant the whole piece. Although it is an element that unifies, perhaps it's too much time with the same rhythm. Several climax are well constructed. It's nice.
  14. 1 point
    It's very powerful and with nice harmony. The score is a bit messy, however. I think it fits with your idea.
  15. 1 point
    The music is dramatic and it reminds me of a requiem in a film. However, I think you really need to work on your sampling with sounds. There is still a lot to gain for you. I like the drama.
  16. 1 point
    @Maarten Bauer, I love your contribution. I had to tweak the end of mine or otherwise the transition from mine to yours would be awkward. Collab1.mid
  17. 1 point
    Nice, I hope it generates new ideas and melodies for you, it always takes that one unusual track to expand one's imagination in composition.
  18. 1 point
    These are my Three Sententiae for Bass Clarinet, Op. 301. They are my first set of sententiae for the Bass Clarinet. Previously I have composed two soliloquies for Bass Clarinet. Here are their links: http://www.youngcomposers.com/t34704/soliloquy-for-bass-clarinet-no-1/ http://www.youngcomposers.com/t34896/soliloquy-for-bass-clarinet-no-2/
  19. 1 point
    Hi all, this is my second Quartertone study, which I wrote in 2013, in my first semester at the Vienna University of music and performng arts. Looking forward to your feedback.
  20. 1 point
    Hi fellow composers! My name is Kian, a Shanghai, China based composer and visual media audio specialist. I'm a graduate of the world prestigious Berklee College of Music and have had more than 10 years of industry experience working on a range of projects including AAA+ games such as Eve Online, Dishonored, Spec Ops: The Line, Dust 514 and block buster Chinese films notably Wolf Warrior. You may find more information about me and my works through my website: www.kianhow.com After more than 10 years of being in the industry and having spent considerable time working in the East and West, I have accumulated much highly valuable experience which I believe will help composers navigate through their careers with much ease. And considering the rise of the economic powers of Asian countries in recent years, there will be more opportunities for composers to explore in this region and I will have highly valuable information that can help aspiring composers intending to exploit the growing markets of the east. I have written a series of articles with the specific purpose of assisting composers achieving their goals. If you find my articles to have provided any value to you, do share it to others as sharing is caring and if there's any questions or topics you'd like me to write about, do get in touch with me :) https://www.kianhow.com/single-post/2017/08/08/Truths-About-Being-a-ComposerThat-You-Should-Know-1-Understanding-the-realities-of-being-a-composer https://www.kianhow.com/single-post/2017/08/08/Truths-About-Being-a-ComposerThat-You-Should-Know-2-Understanding-the-function-of-a-“work-for-hire”-composer Thanks and I wish all of you the best of luck with your careers! -Kian Music Composer | Visual Media Audio Specialist www.kianhow.com
  21. 1 point
    This is my favourite set of Sententiæ I have listened to! Fantastic! Wonderful use of the three very different registers and you use the entire compass, which makes the music interesting. I particularly like the passage of the lowest register. All three pieces sound very logical and simple, which is the power of this opus. I just love the unexpected notes at the end of No.1 and No.2 (when not reading with the score). It adds some humour to the already light music. Very well done! I am looking forward to more music!
  22. 1 point
    Thanks for the suggestions, @Maarten Bauer! It's nice to get such a detailed review. I'm glad you liked it! The initial modulations were honestly just an experiment for me, and I ended up keeping them. You're also absolutely right about the ottava line in the right hand -- it should be a bass clef. The mysterious/dreamy part you mentioned was achieved by using Messiaen's modes of limited transposition, thanks to our friend @Luis Hernández. The E Major chord you mentioned (just beforehand) with the G-natural and B-flat in the right hand was my attempt at a chord with a split-third and a split-fifth... I felt that I needed a 'bridge' from the more classical passage beforehand to the more contemporary passage afterward. I don't know how successful it ended up being. Thanks for listening!
  23. 1 point
    Hello everybody! At the moment the Young Composers website does not have a logo, nor a favicon. So, Chopin and I came on the idea to hold a logo AND a favicon design for the website. This competition is meant to everybody who is a YC member and you do not have to be a professional designer to join. Be as creative as you want! All submitted designs will be showed in the first Young Composers Magazine. After the publishing of this, all YC members can vote which one they like the most. Finally, Chopin can adjust minor things if needed. To avoid any ambiguities: Logo: will be placed somewhere between the header. The header would be considered anything above the navigation tabs. So that little bit of area between the tabs and the top of the page. Favicon: the icon that is shown to the left of the address bar in any of the browsers. For instance: http://www.shopalot.com.au/wp-content/uploads/2013/04/example-favicon.jpg A square form is preferred, because Chopin can then easily resize both images if the are too big to fit the header and / or the favicon. The name Young Composers needs to be included. Deadline Offical deadline is the 1st of October. Eventual latecomers can be rejected. How to participate Answer the poll with yes. If you do not want to participate, do not answer the poll. Submit your designs After you have finished both designs, make sure that you send a PRIVATE MESSAGE to @chopin and me. This is to avoid any cheating regarding creativity. All posts including images with designs by logos publically posted will be deleted. Your submission needs to contain a brief motivation why you have made the designs as they are. Voting via the magazine All submitted designs will be showed in the first Young Composers Magazine. After the publishing of this, all YC members can vote via a new topic in this forum which one they like the most. Reward Eternal fame. People visiting the forum will see the beautiful logo and icon designed by you. When there are any questions, just ask them here and Chopin or I will answer them. The best of luck! Kind regards, Chopin & Maarten Bauer
  24. 1 point
    Maybe I'm not experienced enough to give advice, but I think you should just try it.
  25. 1 point
    Not a problem at all! Chopin and I will look at all designs that are sent before the deadline. We can thus also choose an older version of your design if we like that one more. I am very curious!
  26. 1 point
    Hi Maarten, Two questions: 1. Can we just include the initials YC? Or should we spell out the full name "Young Composers"? 2. Do we have to create a separate logo and favicon, or will the same design work for both? Or maybe make the second answer "Maybe"!
  27. 1 point
    Your words move me. Music is my life. It has helped me through hard times, when everything was lost except my love for music. For me music is the most perfect art. Never, never ever stop with making music because somebody says you to stop. Do the things you like to do.
  28. 1 point
    No problem and thank you! I suggest that you consider buying the already mentioned book by Adler. I do not have this book, because I cannot afford it. I do have Forsyth's ORCHESTRATION. Although it is quite old (1914), it is VERY interesting read and still very useful. It describes the history, usage, characteristics of most of the orchestral instruments. The most interesting aspect in my opinion is the description of the history of the instruments, because this makes it easier to understand HOW the instruments work. In my opinion it is a fenomenal book.
  29. 1 point
    Hey man. There's a lot to like here, especially for a first orchestral effort! Here are some of my thoughts on the instrumentation, but know I'm no expert and I can't really say anything definitive. M. 14-16: Not sure you need the 2nd oboe doubling with clarinet and trumpet. It goes into the very bottom of the oboe range, which isn't really idiomatic for passages in lower dynamics. M. 20: I would rethink doubling the 2nd violin trill in the trumpets and horns. It wouldn't be possible to do a half-step (F#-G) lip trill, and valve trills would have a chance of really muddying the sound there. That may be fine for your purposes, but you'd probably get a cleaner result from clarinet or oboe. M. 26-30: The 2nd flute line would probably have serious problems cutting through the rest of the dense orchestration. I get it's doubling the trumpet, but it's almost pointless because the trumpet would completely overpower it M. 40-47: The oboe doubling is again dipping a little too far into its low register. Generally, anything below the staff isn't very characteristic of the oboe. I would probably reassign that line to a clarinet, or have the oboist switch to english horn for that line, which I think may be more the sound you have in mind. Some general thoughts: The best advice I've heard for instrumentation is that your choice of instrumentation should clarify the form of the piece. I think you're getting this idea, since you chose to really cut back on the brass for the second theme after they had largely dominated the first (which is itself pretty unusual compared to what I would typically expect from orchestral writing). It seems like you get that idea, but I'd really encourage you to think about how the way you choose to orchestrate certain sections of the piece helps define how they relate to others. One last minor critique: It strikes me as odd that you have a long pause inbetween the first two themes. I really felt like the piece lost a lot of momentum and I really think it would be preferable to have a smoother transition between them. I hope I've been helpful and the things I've pointed out make sense. Forgive me if I've written anything strange, it's kind of late and I'm not thinking 100% clearly.
  30. 1 point
    My main suggesting would be to vary the harmonic rhythm in this piece a little more, that is to say, don't make every chord 4 beats. I know there are places where your chord length changes, but it could happen a bit more, especially since this ebbs and flows a lot. There It has a nice feel in terms of timbre but gets stale a bit. There was one place where your chord progression went from C minor to A minor and it was kind of awkward... took me out of the mood a bit.
  31. 1 point
    Hi I would remark the part Monarcheon mentioned with triplets. It's true it sounds a bit empty. On the other hand the sounds you get with guitars are beautiful. In all, I think it's very nice.
  32. 1 point
    Oops... sometimes my ratio leaves me alone. I will change it, thanks!
  33. 1 point
    This is so charming! :) Couple things I hear: 1. The rhythmic integrity of the main motive is a little spotty at times... especially when doubled. Having better support for it might be better. 2. The triplet section in the middle could definitely use the support of the third guitar a lot more even for grounding, rather than counterpoint (multiple melodies at the same time). It just sounds so relatively empty. 3. The ending I found a little weird, since it cuts the normal period length by half and ends on a kind of awkward tonic stepwise motion that I never really liked as a technique, but can see the purpose of it. 4. The opening is a little strange too because it uses the tonic note sparingly, so audiences will think of it in either D minor or F major because it lines up. Maybe have the Bb played just a little bit earlier...? It's really good. Good performance too!
  34. 1 point
    Careful with the use of inversions. 1st inversion like the 3rd chord you used normally sounds unstable compared to the root position chords, especially since it wasn't used in any stepwise motion. The chord at :39 is really out of place to me, mostly because of the iim6 that you have with the stepwise motion in the melody. 1:32 was a VII6 chord which would be okay normally, but I don't think it sounds particularly resolved with the next chord. I think you can use this time for a little bit more motion in the accompaniment (even just quarter notes) to support it a little better. 1:42, use of tonic pedal in the soprano voices was a cool idea. I also see the cinematic nature of the music, and would suggest you use a VI chord at least once, because it works really well with your main melody because it creates. VI∆7 chord, and is stepwise to the tonic with inversion modulation (i.e. the 5th becomes to root) which is used in cinema music as a really hopeful and driving sensation. Overall, you have the idea of ambience nailed down, there are just some moments that took me out.
  35. 1 point
    Years ago (almost a decade), many of us older members came together to save a dying YC forum. I stepped into an administrator role and aided in saving this forum -and I must say, its nice to see the community up and going strong again. In the years since I stepped away from YC, I've begun to develop my own business skills (I own a cleaning company and have just launched my second business -an online radio station dedicated to the promotion of new music). I have several articles still in the wiki and all my old posts are in the archives (which is nice to read back on). I would be very interested in assisting with the magazine and might even follow suit to create a magazine for my new radio station. Just let me know what you need and I will do my best to meet it!
  36. 1 point
    So I wrote this piece little over a year ago and it was my first time writing for harp. If any of you play the harp, I'd especially appreciate it if you could just have a look through the harp part as you listen, just to see if there are any mistakes that should be fixed. Also ... Harp Question: Should I put pedal diagrams in; leave it blank, so that the harpist can work out the best pedalling for themselves; or somewhere in the middle (like maybe at the beginning and at certain rehearsal marks)? Program Note (if you're interested): The inspiration for the piece came from Rautavaara’s Cantus Arcticus, subtitled Concerto for Birds and Orchestra, in which Rautavaara incorporates tape recordings of birdsong’s in northern Finland and near the Arctic Circle. In “Le Jardin”, I transcribed the call of the cuckoo and used it as a leitmotif for the middle piece. In “Dawn”, at rehearsal mark A, flute 1 plays a bird song like melody which at rehearsal mark B, is imitated by the rest of the woodwind. This imitation at B represents the birds calling and responding to each other as well as the animals waking up and the day beginning. For the third piece, I wanted a contrast to the first two pieces. I decided to write a light, humorous, polyphonic piece and ants seemed like the clear choice. In “Ants”, I have the melodies enter one after another, like ants walking in a line.
  37. 1 point
    Hi, (this is about cinematic composing) I've been on many composer forums and I keep coming across this problem: - people underestimating the power of good sounding content or not being able to get the sound quality they want. so I'll give some tips on how to get this done: - where do I find good sounding sample libraries? I find the library's from heavyocity, output sounds, cinesamples and native instruments a good place to start. they are expensive though. they all require Kontakt 5. Don't underestimate free sample libraries. they might work just as good as professional libraries! - how do I mix them in a track? every single sample library is different and has a different sound. choose the ones you like most and maybe layer them with others to get the ultimate sound. make sure when you make certain articulations, that you use the samples designed for this. (example: when strings need to do spiccato don't use legato samples.) if not, the track will sound very unprofessional and cheesy. this sounds really stupid that I say this, but I've come across this mistake dozens of times. don't underestimate dynamics. I tend to do this as well. if you have your melody's and chords ready and you have a decent sample library, they will sound pretty normal without dynamics. this is just something to mess around with. keep in mind that dynamics improve your track dramatically. so try something. if you use a keyboard that has a modulation wheel, try some stuff out. make sure that the panning of all instruments is correct to your liking. if all instruments are in one place it will sound unprofessional and unrealistic. make sure there is a good variety of places where the instruments are placed. choose reverb and other effects individually per section. this gives you maximum control over the sound. - synthesizers synthesizers are a great help when it comes to building your sound. they can be used to boost a certain section of the orchestra or to give a feel to your track that organic instruments cannot accomplish. - live playing when you have the chance to play something live, take it. playing something live is in almost all cases easiest. if you are a bit of a musical person the dynamics will go automatically. just import your recording, put some reverb and EQ on it and done. if you are a string player, you might use autotune to make sure your notes are all spot on. I hope this was helpful Cheers! p.s. I've got a track attached that I created under 20 minutes or so, to show you what synthesizers do to the sound of a track. (Don't mind the ending though. it sucks.)
  38. 1 point
    So I wrote this piece at the beginning of last year and, while it's not really my style anymore, I still think it's quite nice so I thought I'd share it. :) I was fortunate enough to get a performance of it from the Kokoro Ensemble; I do have a recording of the performance but unfortunately, I'm not allowed/don't have the rights to share it on social media and forums. However, I do have a recording of the piece when it was being workshopped (see the mp3 below).
  39. 1 point
    Melody Unity and balance Unity and balance often make it easier to recognize musical themes. It is therefore important to create these two principles. This can be done by motives and the repetition of these. Let us take the opening theme of Schubert's Symphony No.9 in C major ''The Great'' played by solely horns in C: If you analyse this melody regarding rhythm you can find two evident rhythms, namely: *Maat (Dutch) = measure. By using evident rhythmic elemnts, the melody becomes a more dense whole. We call rhythmic and melodic elements, which are very characteristic, motives. One single theme often contains one or more motives. Furtermore, you can develop these motives to avoid boringness, but still keeping the unity, because you use material that is recognized by the audience's ears. In general, it is easier for beginners to compose melodies an even amount of measures than to compose a melody in an uneven amount of measures. Thus, 4; 8; 10; 12 is considered easier than 3; 5; 7; etc.
  40. 1 point
    Welkom bij de club! It is lovely! The topic ''dreams'' is very present in your composition, so do not worry about that. I like the tremolo in the strings (if I am right) from the beginning, because this creates a sort of mysterious atmosphere. When the brass comes in, this atmosphere makes place for a more heroic, epic theme. I suggest you stop the tremolo from that moment, because it then becomes a bit too repetitive and disturbing for me. An idea: This long C that was first played in tremolos by high strings can then be taken over by some lower strings playing arco to support the brass. The second part reminds me of some Asian film music. Probably because of the harp (or guitar). This theme is dreamy as well, because the music echoes. I like how you use double stops in the viola. Finally, the third part. In my opinion, this is the most wonderful part. It has a vivid mood and the 'dialogue' between the powerful brass and the smooth strings is splendid. The drums create even more epicness. However, the end came way too fast for me: a sudden low drum and all music is gone. That is a pity and you should make the end more smooth. Furthermore, the idea of ''dreams'' did not came out that nice like with the previous two parts. It rather reminds me of a great adventure than a restful dream. In conclusion, I think you have done very well and you may be proud! Goed gedaan!
  41. 1 point
    Very nice, I like it. In the first one I would stop the high drone at 00:38, or so.
  42. 1 point
    Sorry! Two jobs and school I will respond asap. As for the "best works" section, I'll try to design a little bit better way to feature pieces and will let you know here or on messenger.
  43. 1 point
    I think the collaboration forums are not working too well because it's a bit difficult to keep track of progress. And sending and receiving files back and forth is just a hassle. One of the reasons why I developed Music Jotter was to overcome these issues. So here is what I am proposing: If anyone wants to give this a try, I'd need multiple volunteers to use Music Jotter in order to work on some collaboration projects. It could be a fun way to reboot this specific part of the forum and at the same time, I get to see if there are any issues I may have missed with the product. If there are at least 3 or more people interested (keep in mind this is a Windows product), please respond here and I will then contact the interested members via a private message about how we can proceed.
  44. 1 point
  45. 1 point
    I know this is a little late but one thing you could do with fl studio is export the midi. And if you've heard of musescore (if you haven't google it [that'd be surprising though]) you can import midi to make sheet music and make minor tweaks on your own.
  46. 1 point
    I watched a video talking about becoming immune to dissonance, and it's something I can easily identified with. Here there are only two chords / scales: Cmaj and Dbmaj. But always superimposed. When Db is under C, intervals are natural 7 and the sound is softer. When C is under Db, it's heavier because the b9 intervals. But nothing sounds bad to me. Also, there is a part where everything is "inverted". INMUNE - SCORE.pdf
  47. 1 point
    I don't understand where is the problem with crossing voices. I think this is very important in vocal composition. There is a book by Percy C. Buck, Unfigured Harmony, which is very old (1911 I think). That is to say: it talks about classic harmony, nothing about impressionism or other modern systems. It's a book I like. It says: "Never hesitate to cross parts. In vocal writing, pure and simple, there is not much reason for doing so, hence the habit has come to be considered unadvisable. But in writing for strings, or other instruments of large compass, it is most desirable that the different qualities possessed by different ranges should have fair play". In fact, in instrumental music there are cross voices we can identify easily. Pachelbel's original canon with three violins is constantly crossing parts. I gess many times crossing voices will not provide a good result. But making it a universal rule... Not for me, sure. About the quartet... It's nice, but this kind of sound (somewhat modern) is a bit odd in this classic style. This is something I don't see as a problem, you can turn it upside down and make it a novelty. It works better (to my taste) in the quiet movements (Andante, Menuetto).
  48. 1 point
    Thanks Maarten! Yeah, perhaps 'Quiet' would have been a better wording over isolation on reflection. The village itself isn't really isolated, it's just not very busy. I was trying to provide a sense of 'day to day' struggle like the people were just 'plodding along' with the tempo and rhythmic stabs. I was going to put a low piano drone in as well to make it a little darker but I decided against it. Maybe I'll add it in and see how it sounds. Currently it's called 'The Winds of Nova' but that might change I believe. It's a one man development team right now too so may take a fair while to see any kind of fruition (if it actually does). I enjoy the challenge/practice all the same though!
  49. 1 point
    Hi I think that if there is no melodic contour at all, you don't need to notate. I would write the text in the score, that's all. In sprechgesang the pitches are notated with crosses (X) as head notes, but there is an intonation.
  50. 1 point
    Howdy y'all! (Seemed an appropriate salutation given the title.... ahem.) Audacity is a free sound editing platform. It's VERY basic, just allowing for pitch change/time change, cutting/pasting, basic effects (reverb, delay, distortion, etc.), and generating static sin/saw/square tones and the like. I can't input pitches of a given sound as with most DAW's. I found a tool that allows me to input numbers and it returns the corresponding dial "beep" a-la telephone. I generated some saw tones and worked them into a bassline, then put some electric guitar on top - using only my built in microphone (don't own an external mic). The introduction is a tone I pitch shifted up with reverb I pitch shifted back down. I'm enjoying doing this kind of thing, it allows for a lot of freedom. Let me know thoughts about any part of it! Thanks, Gustav Johnson
×