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Lady Gaga's music is infinitely more complex than 99% of the music I've seen posted on this site. There's a reason she is a millionaire and you all just copy paste early period Beethoven sonatas

Hoo boy if you thought THAT was being an donkey, then you are NOT cut out for the world of criticism. Did I call you names? Insult you personally? Attack you baselessly? Mmmm no! Turns out I was trying to point out a flaw in the work - HOW SHOULD I HAVE KNOW YOU WERE ALREADY AWARE OF IT? You literally could have said "Thanks, I was aware of that, I just didn't do it this draft/not worrying about it until the music is done" and aaaaaall would have been well

I'm sure you've obtained a rather solid grasp of what this site is about while posting the 5 other posts in the two weeks you've been here. :whistling:

Yeah, you know how there's a "text" tool? Use that!

Take a look at a Frank Ticheli score's percussion parts to see what can be done with Finale... :shifty:

To be honest, I don't think that many instruments should be orchestrated in that run. I think you should give the ensemble a downbeat after the run as a contrast. I'll go down the score. Flutes 1/2: You should take that up an octave. In-staff flute is going to get eaten with all those other instruments you have playing. Clarinets 1/2: This can be left as it is. But if it were me I would take away second clarinet off the run, 1sts can handle it. Saxes are fine. I don't think trumpets should play the run at all, but if you like it that way, I would suggest taking the seconds off of it. Trumpets aren't good in that low register, and I recommend not going lower than a written B flat. I disagree with Peter about the horn parts making it muddy. haha. two words. Samuel Hazo. Listen to some of his fast pieces. I certainly don't think his horn runs sound muddy, and I'm sure he thinks the same. I really think the euphonium part should be up an octave, if you really want notes that low, give it to the tuba. :rolleyes: Like I said, the brass shouldn't have that run in the first place, but if you like the sound keep it. just take it up an octave. If anything, the low register baritone/trumpet would muddy it up more than horn! As for the rest of the piece, good job, i like it!

Show of hands: how many like Lady Gaga due to her sexual exuberance?

Please do not start an argument which has the inherent flaws of Finale's programming as its basis. Finale 2009 has a very steep learning curve to get it to do any sort of fine-tuning, and the Percussion set-up is the most evident. Percussion isn't as easy to input into Finale to both playback correctly and look correctly. It takes a lot of time to learn how to get what you want out of it, so let's take a breather before this gets out of hand. Yes, a score/parts should always notate what type of Cymbals you are using, whether it be on the part itself, or if you intend to use multiple cymbals, at every change in cymbal usage throughout the part. However, it should be remembered that most people who upload their scores for critique can forget that while they've managed to write Percussion so it plays back correctly, they still need to provide this information. It's not uncommon, and there's no reason to fight about it. You make a mistake, somebody lets you know, and you fix it for next time. Live and learn. Now, Finale does have a suspended cymbal, it's just buried in the midi mapping. The problem with Finale's percussion set up is that it treats the midi mapping of percussion as a normal instrument, which it should. So, most people know that a D2 is a snare drum, if you are familiar with midi mapping. However, here's the catch: the D2 is a snare drum only in C major. There's most of the problem. Say the key signature changes to F major. Non-pitched percussion does not utilize key signatures, but Finale stores the data just like it would for any other instrument. So the D2 for C major now becomes a G2 in F major. So you can't just hit a note anymore and have it input correctly. If you want, I'll look up the suspended cymbal and let you know what note it would be.

I think lady gaga is basically amazing. She's very talented, and she's very genuine compared to a lot of artists you see today. Sure she's not exactly the most well rounded musician ever, but compared to other pop artists, she beats them by landslides! I think it's also great how quickly she became so popular! I just hope she is able to maintain her mainstream status and not become a fad like previous artists. Oh, and here's a clip from my favorite internet celebrity with her interpretation of Gaga!

i will probably be a minority here, but i think its pretty sick what she does, sounds like she is sanctifying her twisted approach for relationships, she knows that's whats happening in the world now-and that's what she present for them, to make those feelings of insanity ok in our "not" sick society. its very not far from promoting vodka to kids.

Ew, not me, I don't find her sexy or attractive at all :blink: :lol:

Er, why single out this chick? I don't get it, what's this thread about anyway? I don't listen to her music (I'd rather listen to stuff like Royksopp or Capsule if I'm gonna listen to pop) and I frankly don't care who she is personally. She could as well be a chimp with a robotic brain shooting lazers for all I care, it still doesn't anything to me. This thread honestly could've been as well a post in that old pop thread I made, since honestly what's there to discuss? It's some chick writing pop music for MTV success that dresses funny. Next. PS: oh gently caress the famous gaga, check this scraggy out! I can get behind this 10000% more.

I think "Famous Gaga" is a pretty decent example of social reflection in the form of art. Her videos and music sell, which is a pseudo-representative commentary on what society (at least those members of it who buy her music, millions worldwide) consumes in the form of "cultural" forms of expression. There's not much to over-think here. She's a cultural phenomenon because she shouldn't be doing well if culture rejects her outright "freakishness" and vulgarity. Not only does the culture around Gaga overlook it, they practically go "Gaga" for it. They buy it largely because of its freakish vulgarity, because this personae she creates with her music and her appearance appeals to some people. And these people are influential in turning other people on to her music (and perhaps onto the culture it appeals to), thus the huge following she has now. But I think it's mostly the cultural aspect that interests me most. If you reject the culture or the values presented therein, you're likely to find "amateur Gaga" more appealing. Either way, she has tremendous talent and does an outstanding job of connecting her music to the culture that she appeals to in society. I think this is what's important to understand about her. She's not some cheap parlor trick to appeal to an audience like so many other pop artists tend to be. She's genuinely skilled, genuinely appealing within the culture that consumes her work and understands her, and that should be a pretty good measure of her influence in the broader context. I happen to think that if you identify yourself with the culture Gaga appeals to, you're represented well by her. There's nothing wrong with that.

Don't "shame shame" me. I'm not stupid. In finale 09 there is no suspended cymbal, otherwise I would have chosen that. I also know the rules of writing percussion; however, I did what I could with the program to get the sound I wanted. If the composer does not specify otherwise on what to hit an instrument with then it is common knowledge that the player would use the "default" beater.

EWQLSO is a professional sound library and is not meant to be used from within a notation program like Finale. Finale is intended to produce sheet music, not realistic audio recordings, so its MIDI editing capabilities simply will not give you the level of control you need to make any sort of proper use of EWQLSO. If you want to use EWQLSO to its fullest potential, you should do so from a MIDI sequencer such as Reaper, or Logic, or Cubase, or Sonar, or any of the others that suits your workflow. Using EWQLSO from within Finale and getting playback to sound correct will require a lot of hidden system messages and generally makes for an excessively messy score and way more work than necessary. So if you have your symphony completed and nicely scored in Finale, then leave it at that and do your MIDI sequencing/audio production with EWQL in a proper piece of software dedicated to the task.

Dude, the only reason I responded in such a way is because you were being an donkey. It seemed like you were talking down to me, like you assumed I knew nothing.Maybe you were trying to help, but it seemed like you were trying more to insult me then help me. This isn't my first time writing something. Oh, and I would critique your works, but you have none.

Thank you, I would be very grateful if you did.