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About Polaris

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  1. My previous composition technique wasn't cutting it for me, so I tried something different, which you can listen to here:
  2. This composition had a few tiny but persistent bugs to iron out. Here's the final version:
  3. The easiest way to do it is to start by determining the succession of chord roots that will appear in your composition. This succession of chord roots will form the main melody that the listener hears. After that, it's a matter of embellishing the main melody with notes that support rather than contradict it (otherwise you're changing the main melody to something other than what you intended) and which ideally will have some melodic value of their own. One can try reversing the process by adding the chord roots last, but in that case there will likely arise points where you have to make awkward melodic choices because the accompaniment you've written will only support certain notes as the roots.
  4. If by dissonant, you mean most ambiguous/unstable, that designation goes to those harmonies which divide the octave evenly: the tritone, the augmented triad, whatever you call a chord structured like C-D#-F#-A, etc. If by dissonant, you mean most harsh-sounding, that will depend largely on the timbre. With pure sine tones, C5-C#6 doesn't sound harsh: it produces no sensory dissonance. Play that same harmony on a piano, and there will be plenty of sensory dissonance. If by dissonant, you mean ugly-sounding, that's highly subjective. In short, I don't really think the process you used is getting the results you intended. Also, I don't know why you would want to build chords in this particular fashion.
  5. Fixed a leap by a tritone that snuck in:
  6. I've finally gotten good enough at writing music that I've been completing half-good compositions at a regular pace. In this thread, I will be posting some of the ones I've done and some of the ones I will do in the future. Here's a piece I just finished an hour ago: https://soundcloud.com/user-321964225/aquamarine
  7. I updated "Flowers of Edinburgh" yet again:
  8. A slightly better version of "Flowers of Edinburgh" as well as two others:
  9. I just finished this one.
  10. I've discovered no greater pleasure when it comes to composing music than that which I gain from taking melodies written by other composers and harmonizing them. When I say "harmonizing," I mean doing something more along the lines of adding independent melodies to the original than putting block chords underneath, above, or around it. (The extent to which my harmonizations really contain multiple coherent melodies has so far varied--largely because I've been experimenting.) I'm creating this thread first of all to ask for sources of unaccompanied melodies in MIDI format--in particular, I'd like longer melodies, as the ones I've been using are barely long enough--and second of all to share the harmonizations that I've been composing. Feedback is welcome. Here's are the first two I'll post:
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