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About danuniversal

  • Rank
  • Birthday June 17

Profile Information

  • Biography
    I compose psychedelic music, understanding "psychedelia" as "show of the soul"; so in my music I try to expose my soul, my feelings, my emotions, and my thoughts; that is the most important thing in beautiful arts, that is what gives them beauty. τέχνη is important, but psychedelia is more important.
  • Gender
  • Location
  • Occupation
    Philosopher, Composer
  • Interests
    Music, philosophy, veritas, love.
  • Favorite Composers
    Ильичъ Чайковскій, Johann Strauß Sohn, Fryderyk Chopin, George Gershwin, Franz Ritter von Liszt.
  • My Compositional Styles
    Waltz, Psychedelic Music.
  • Notation Software/Sequencers
  • Instruments Played
    Piano and guitar. I also have played in some level clarinet, xylophone, mandolin, snare drum, cornet, and harmonica.

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  1. Dear Gilfy, the main virtue of a theoretical or dialectic text is the clarity and intelligibility. It must be long enough to express and explain all the ideas required to understand it, and short enough to not diverge nor contain irrelevant filling.
  2. I recognise that maybe I am not the greatest composer, but certainly I compose better than what I can play any instrument. As well as you said, I had musical ideas without knowing how to play them. And when I had an instrument in my hands I hated those repetitive exercises for beginners, so much that I can tell you that I practically learned what I know about guitar and piano from 0 completely by myself. In the past I knew how to play other instruments, like clarinet, and I attended classes, and they were acceptable. But I think I could not have done what I have done if I had followed a teacher in guitar and piano. I hardly play a score, I practically know only a few pieces... But I can play a lot, and for hours, improvising and exploring freely. I did obtain ideas from what I improvise, and I have seized them a lot in my compositions, although they are not as great and sublime as those I can imagine in my head. I think this is because I know how to easily imagine any sound in my mind, but not in a piano -not at the level I can in my mind-. So, perhaps if I had a more advanced technique I could improvise better and get better ideas. Perhaps it would help, but you are correct, it is not mandatory, and I have composed symphonies, and even pieces that I could not play myself, but I make them possible to play by other better experienced players.
  3. I was trying to review some orchestral scores to get an idea of breathing and pauses, and looking at Tchaikovsky's 1812 overture, from the measure 332 (which is like minute 12:25 in the video) the woodwinds have very few pauses, and I actually counted sections of more than a minute without a silence. In some parts they play almost like the strings. Here is the score if you prefer it: http://conquest.imslp.info/files/imglnks/usimg/a/a8/IMSLP403720-PMLP03587-1812_Overture__1880__-_Full_Score.pdf Perhaps the director or the woodwinds section organise to take turns to play without loosing breath? I am looking for such a extreme example in brass. I counted up to 20 seconds in the brass section without a silence (perhaps I did not not a longer section?). Suggest me some other composition. What do you think about this case? Does this demonstrate that woodwinds indeed can play for minutes without a silence?
  4. I am trying to compose something for a orchestra with a lot of wind instruments, wood and brass, and I am not sure if they can actually continuously play, in example, an arpeggio for minutes or something like that, without rests. How long can they play? What are the rules? Or what do you recommend? Thank you.
  5. I am talking about getting accepted at the bachelor level (university level, higher education), not the teenage level or the kid's level. This question is very general, and I hope you can give general answers, I know every school is different, but, most seem to request certain prerequisites, usually tested with an admission exam. So, if someone wants to have a good chance of passing the admission exam, what should he know? What abilities and knowledges do they usually expect you to have to pass that test? What I am trying to find is some list of topics or subjects, along with abilities goals, so I can form a programme of autodidact study, to prepare to be accepted in a conservatory in, example, 3 or 4 years from now. Again, this is a general question, but if you only know about your local conservatory, that would be welcomed as an answer too. The more specific the better, when talking about abilities levels and topics, in example: you should be able to play this hard piece in the piano, you should know these topics of harmony, you should know these things about solfege, etcetera. Thank you very much.
  6. Instead of forcing the composers to make strange unnecessary transpositions, we should force the players to actually learn to play the real notes indicated in the score. Honestly, complicating everything just to pamper players... Is not good.
  7. Hello, I did not have time to thank before, so I take the chance now: thank you. If anyone has more suggestions, please post them!
  8. I have tried to search on libraries and it is very hard to find a book in the music category that be not a "history of music" book. It seems as somehow it were very mysterious the "secret" to compose music, but I am sure that it is not a secret, and that it is not a mystery. Yet, I have very hard times finding any book to learn to compose, maybe I am too unwise to search, maybe there are actually very few books about this topic. Whatever it is, I now request you to please give me some bibliography about composition, it does not matter if it is something to advanced or something for beginners, I would like to make the bigger bibliography of composition books that I can. But, of course, try to mention only the ones you actually recommend, not the bad books, and try to mention if it is something for beginners or for advanced. I will travel soon to another place where I could get the books if I preorder them, and I don't always have this chance to get music books, so I would like to take advantage and try to get the best ones I can, according to the ones you recommend me here. Thanks.
  9. This is a very intense piece, romanticism at the maximum. In English it is called "Love Death". Dying for love, is it supposed to be sad? I am not sure... Not if you are a lover. So, it is the final piece played at the opera called Tristan und Isolde; and it is sung. But here is the orchestral version, which I prefer over the sung one. I think I have listened this piece 100 times in the last days, as it is so delightful. And after being searching and listening for many versions, I found this one: Which is the Liszt transcription to piano, but it is not played as pianists usually play it, but in a very special and personal way, by pianist Ervin Nyíregyházi. I listened to the other piano versions, but this one is... the best. Almost as intense and affective as the orchestral version, with a piano... You should listen first the orchestral version, and later the piano version. You will be delighted, with both.
  10. I think it is a wonderful composition, very fun, and hilarious. Listen it: I wish I knew more music like that...
  11. Those are the terms in Spanish: 4/4 note is «redonda», 2/4 note is «blanca», 1/4 is «negra», 1/8 is «corchea», 1/16 is «semicorchea», 1/32 is «fusa», 1/64 is «semifusa»... http://es.wikipedia.org/wiki/Figura_musical
  12. By white note I mean 2 times note (half note), and black note I mean 1 time note. Pentagram is "5 lines", I am referring to the score. I am sorry if you did not understand, I am a native Spanish speaker and those are the terms used in Spanish to refer to those things. But, if I have something that is very difficult -as my last example-, can I write a note at the beginning asking the pianist to have the freedom to use the sostenuto pedal when he thikns it would fit even if that causes to make another note accidentally sustained?
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