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millert1409

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millert1409 last won the day on November 25 2017

millert1409 had the most liked content!

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About millert1409

  • Rank
    Advanced Member
  • Birthday 05/07/1998

Contact Methods

  • Website URL
    http://www.tylermillermusic.com

Profile Information

  • Biography
    Currently studying music composition in university, with a concentration in piano. I'm particularly interested in film music and indie music, as well as audio production and engineering.
  • Gender
    Male
  • Location
    Texas
  • Favorite Composers
    Claude Debussy, Frederic Chopin, Jonny Greenwood, Steve Reich, Charles Mingus, Ramin Djawadi, Maurice Ravel
  • Notation Software/Sequencers
    Logic Pro 9, EWQL
  • Instruments Played
    Piano, Acoustic Guitar

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  1. I think that since graphic notation can vary so much from composer to composer, you're probably not going to find a notation program that will allow you to easily do this. As some other people have already mentioned, I would suggest either drawing it out by hand, or using some kind of graphic design program. Photoshop for example is one program that I've heard is good for this kind of thing.
  2. I really enjoyed these pieces, especially "Caronte y Psique". You use a really interesting harmonic language. These are obviously not using functional tonality, but it doesn't sound completely atonal either. Could you tell me a little bit about your process in creating these and what, if anything, informed your harmonic decisions?
  3. Thank you for your response! Would you mind giving me a few suggestions of the different manipulations that are possible, aside from inversions and transpositions?
  4. The main motif used was pretty much just a reordering of the original set (0,2,7,4,2) I used inversions and transpositions of the set, and registral displacement to write the rest. I also stacked sets on top of each other in a few parts in order to create harmony. I used a superset of the original set for the B section (which was just the pentatonic scale), and subsets of the original set for a couple of measures. If you'd like I would be happy to upload the score!
  5. Hey guys, here's a short piano piece I wrote about a month ago as an exploration of pitch class set theory. That being said, I feel that the set that I chose (0247) is a little bit too "tonal" for you to really be able to tell that it was written using pitch class sets in the first place. So I'll probably end up wanting to give it another go. But I would love to hear your thoughts on what I do have, as well as any thoughts you might have on composing with pitch class sets, and what you might have done differently in order to create something that actually "sounds" like it was written using set theory. Oh and sorry for the mediocre sound/performance quality.
  6. Thank you so much for your reply! I sort of understand what you're saying here, but would you mind elaborating a little further on this? For example, what do you mean by predominant intervals? If a certain interval vector is completely filled out like that (<222222>), wouldn't that mean that there would be at least one instance of every single type of interval? I think I understand what you're saying here- in that you can pivot between two different permutations by using common tones shared by both of them(?)- but how would knowing the interval vector help you in finding permutations with common tones? Finally, I really enjoyed the piece that you included. I love the combination of the bright saxophone with the muddled sound of the Rhodes. I noticed that for example, in the first measure of the sax, you're not using the pitches in order. When transposed to start on 0, you go [0,1,4,9,6], rather than [0,1,4,6,9]. Do the ordering of the pitches matter in set theory, or is that only in 12 tone theory? Thank you again for your advice, this has been a huge help!
  7. I'm currently working on a pitch class set composition- I have my set chosen and I've mapped out several potential permutations that I could use. However, I'm confused about how to approach the material and how to effectively apply it. For example, I understand that, unlike 12 tone rows, you don't have to go through the entire set before repeating a note. If that's the case, couldn't you do just about anything you want, and then just retrospectively describe it using set theory? How would you go about making it aurally clear that it was written using pitch set theory? Right now I'm approaching it like a 12 tone composition- I'm just stringing together different permutations, going through all the notes in each one before starting a new one. But I get the feeling that's not necessary. Overall, I'm still a little confused as to the purpose behind this kind of theory. What's the point of using it to write music? I want to make sure that I'm not doing anything in the composition that would defeat the purpose of using pitch set theory. Thanks in advance!
  8. Hi I'm doing good, thanks for asking! I see what you and LostSamurai are saying and I'll definitely take you guys' advice into consideration. Thanks for your feedback!
  9. I knew I was forgetting something! But yes a rim shot is what I wanted, so I'll go in and specify that. I was worried about P2's part being a bit too difficult, but it's good to know it's playable! Thanks for your response!
  10. I wrote this piece for an assignment which had us write a 4 voice piece for non-pitched percussion instruments (spread between 2 players). I'm not a percussionist so this assignment was a bit difficult for me, especially in trying to keep the piece from becoming dry and uninteresting. I also had some trouble figuring out what a single percussionist would be able to play and what they wouldn't be able to play. So, if anyone here is a percussionist and you have any advice for me in regards to the score, the piece, or it's playability, I'd love to hear it!
  11. For this piece I mainly focused on utilizing quartal/quintal harmony, as well as modality and some elements of minimalism. Unfortunately, all I have right now is the MIDI sound file played by MuseScore- hopefully I can get a live recording eventually. Let me know what you think!
  12. Thank you! And yeah, up until January I pretty much exclusively worked in Logic, using the automation to create dynamics, so actually having to think out and specify articulation and dynamics is pretty new to me. I really need to work on my overall expressivity and how to convey that through the notation. Thanks for the tip!
  13. Haha not a problem! And thank you- at least one of us thinks it's beautiful ;-)
  14. Alright good- I don't play clarinet so for a second there I thought I'd transposed it wrong!
  15. Haha yeah I'm not a fan of twelve tone music either. I can appreciate it and the thought that goes into it, but I've yet to hear a 12 tone piece that I've actually enjoyed. And I'm attending the University of North Texas.
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