Mariah Woolley

I think the question of bowing has been explained...but what I'm really worried about is how one would manage to play two C's (on the G string) at the same time. I keep going over it in my head and it honestly seems impossible, from the perspective of a violinist.

I'd love to join in too, not sure though...I'm going to be incredibly busy for a while, but it sounds like great fun! :D

Thanks... Yeah, Whistler is pretty inspirational, isn't he? It's always fascinated me how he named so many of his paintings as if they were musical compositions, and I've always thought it was about time they had music to go with them. Thinking imagistically comes quite naturally since I'm also a visual artist (I painted my profile pic :D ). There are so many parallels between music and painting. And your Necronomicon idea intrigues me, it sounds like a good one.

Hey everybody! I'm pretty new here (I've only ever posted one other thing before, and that was just a question about harmony/theory. But anyway, I've got several very big pieces that I'd love to write. I already have several ideas for what I want them to sound like (as you can see) but usually I just get frustrated because I can't figure out how to write down what I hear in my mind. If I ever do figure it out (hopefully sooner, rather than later) I'm definitely going to write these pieces, for sure, as well one more which I hadn't written down yet, which would be a tone poem based on Charles Dicken's "David Copperfield". Nocturne in Blue and Gold: The Old Battersea Bridge For Viola, Harp, and Celeste Originally I'd intended to use violin instead of viola, but the piece needs to match the mood of the painting, and I think violin is too harsh a sound. It should start slow, like the world is falling asleep, and then suddenly, fireworks! And one grand old party! But only in the distance, leaving the good ol' Thames to flow on in harmony, and settle slowly into a peaceful night's sleep. Whistler's thoughts on the painting: "A nocturne is an arrangement of line, form and colour first " 'I did not intend to paint a portrait of the bridge, but only a painting of a moonlight scene...My whole scheme was only to bring about a certain harmony of colour' Actually, musical compositions for as many of Whistler's paintings as possible. Especially all the "symphonies" and a number of the "nocturnes". And one special one for the portrait of Lady Meux: Harmony in Pink and Grey. Oh! For the Beauty of the Earth A symphony of sight and sound. Showing all the glory of creation, from thunderstorms and galaxies, to tiny grains of sand. People, cities, trees, mountains. Everything, or at least as much as I can fit into one symphony. If it all doesn't fit, I'll just have to write two. A Symphony of Clouds Depicting the beauty of the heavens through music, and of course, complete with a thunderstorm. A Sea Symphony In some form of 3 or 6, most likely 6/4 since that is a nice "rolling" time signature (the one RK uses in Sheherazade...haha...). I want people to FEEL the waves, I want people to get sea sick! jk...lol :P The sound should be very "briny", bright, open, sparkling, with a twinge of rage. The ocean is beautiful, but unmercifully violent; I suppose it has much in common with the souls of men....anyway....Gulls (in the form of the solo violin/ woodwinds) cry. Waves crash (ascending and descending runs in the strings and woodwinds, ending with the crash of the cymbals and/or other various percussion instruments). After some "waves", perhaps a reprieve (like the twinkling foam that gathers after the landing of a wave), the tinkling of a celeste, the calling of the mews. This phrase of the celeste should not always be allowed to finish, but should be broken up by the "waves", and when it is allowed to finish, should be lost in the rush of the ocean. The creaking of an old sailing vessel should be felt, moving along with the 6/4 metre. A piece for trumpet and orchestra, because it still must be done. I. Cloudy with a chance of Mahler II......I'm not sure yet.... III. Love's Finale Because Love (God) truly does triumph over all :) A viola sonata with the crazy title: A long and hilarious dissertation on things singularly unique. The Octet Rule An octet of course. A very nerdy octet :P

Awesome! Thanks. That makes perfect sense now. I feel kind of silly for not realizing it to begin with. But thanks guys :)

So I'm new here, and relatively new to harmonic analysis. I was in the process of studying some old hymns, and ran across a chord I simply can't figure out. It has me stumped. The one that has me stumped is the first beat of the last measure in this selection (which I've uploaded as a pdf). The hymn is obviously in the key of Bb major,and all the other chords are easily identifiable, but what roman numeral should be given to a chord of Eb Bb G and C? Is the C just a non-chord tone? Any ideas? I feel kind of silly not knowing, since the answer is probably a simple one, but I guess the only way to learn is to ask. Opennowthygates.pdf