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About Stevemc90

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    Intermediate Composer
  • Birthday 03/14/1990
  1. Another great more modern example would be Jacob Druckman (although deceased in 1996), Prisms and Brangle are incredible. Recently I've had the chance to attend workshops and concerts by Michael Colgrass, who recently was in residence at my school. His tone poem "Winds Of Nagual" is the some of the most ingenius and charismatic orchestration Ive come across, being for wind ensemble which I've never been to big on in the first place.
  2. Stevemc90


    I almost bought a recording of Bernstein's Mass today, opted instead for his symphonies
  3. Could you try to word your question better? When you say 16 notes, do you mean that number, 16 notes to a bow (if so, what kind of notes are they, quarter, eigth, etc.)? Or do you mean you want 16th notes under one bow (if so, how many 16ths). If you're looking to have a run of notes under one slur and wanting to accent one single note (which note, the 1st, 6th, 13th, etc.?), it would be possible, shouldn't be difficult. The violinist would just pull the bow extra or add some bow weight to the note. Ease may depend on what kind of notes they are; the faster they are the more difficult but not ridiculously so.
  4. For a pianist, guitarist, someone who plays multiple notes on the instrument at once, there is a familiarity with large harmonies and they would have easier time grasping Piston's triads and four part harmony. The book basically gets right into that at the get go. But for smoeone who plays violin, clarinet, trumpet, etc. the aural familiarity may not be there as much, so to work with one line at a time could be easier.
  5. YouTube - Rufus Wainwright - Tulsa (With Lyrics) by the way he working on a commission for the NY Met Opera
  6. either or I guess, homophony is multiple parts moving together to form harmony right?
  7. If you play piano, guitar, any fully 'homophonic' instrument, start with Harmony. If you play a monophonic instrument try Counterpoint.
  8. find and keyboard and transcribe the chords yourself, it's good for developing your ear too
  9. yeah i was looking for the site too, maybe it's belongs to another organization now?
  10. I'm just curious to see when you guys are writing, if you set down a melody or harmony as first and let the one generate the other, so to speak. It's inevitable that we all keep in mind both to some degree, but have you ever found that isolating one produced better results for you, or resulted in more ease? Myself, I use an early 20th century harmonic language so I find it a little easier to generate small blocks of harmony first and then work the melody on top. Downside is I feel like my melodies are overshadowed and don't stand on their own as well as the harmony. Tips, thoughts, stories, etc?
  11. Fundamentals of Musical Composition - Arnold Scoenberg Harmony - Walter Piston And a counterpoint book...I find Fux to be a bit too basic, but then again I wouldn't suggest Kennan's text because it costs $100 despite its greatness
  12. For all you need to know about modulation check out Wagner's Tristan and anything by Franck...seriously
  13. based on what you've had to say, I'd gather that you haven't listened to Wayne Shorter, Herbie Hancock (played with ChicagoSO at 11), Mingus (Black Saint anyone?), Eric Dolphy (advocator and performer of Varese, among other contempary composers), Andrew Hill (studied with Hindemith), Cecil Taylor (atonality!), Bill Evans (studied composition at Mannes College of Music), Keith Jarrett (was offered to study with Nadia Boulanger as a teen) or even Zappa (extremely advanced classical composer as we all know) for that matter...you act like these guys are mindless screwballs, they know their scraggy and yes their stuff is complex, not like it matters in the first place
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