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About healey.cj

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    Advanced Composer
  • Birthday 09/24/1990
  1. Hi, I'm having a bit of trouble. I have a student doing AMEB's new Music Craft syllabus, currently on grade 5. The problem is that there is no accompanying teacher's books, and what is given in the student book is vague and more learn-by-inference. This would be fine because I know all the material we are covering... However, I'm uncertain about the counterpoint stuff the books cover. There is NO WHERE that gives a definitive list of which rules they are testing. And there are quite a lot of variations where counterpoint is concerned. Oh sure, no consecutive perfect consonances etc. Avoid awkward leaps. First species is note against note etc. etc. BUT some counterpoint systems allow minor and Major Sixths in first species... Some allow both ascending, but only the minor 6th descending. etc. And some say no more than a tenth between the voices, others an octave. Other say that the span should be proportional to the span of the C.F. And so on. It's really bothering me because I could teach her the Fux rules etc and she get her exam back and find out that there was some non-fux rules that applied etc. And like I said... I can't find the AMEB info anyway. Can anyone with AMEB Counterpoint experience please clarify the applied rules if possible? Thanks!
  2. Oh, I was just ranting :-) Actually, while I didn't say it, I was hoping some of you might have advice/suggestion for how to develop this skill? hehe It is a skill I really want to learn, but I've ended up using finale anyway now because I can't stand the thought of the first time I hear it being with performers and discovering that it doesn't sound like it was meant to. Maybe I'll write some simple music on the side, to get a feel for it, and then gradually allow myself to get more comfortable with the process, because at the moment, I'm ending up at a complete stop where it is like loop of doubt: "I can't be sure that what I wrote sounds like it is supposed to, so how can I be sure what the next section should sound like?" Let me be clear that I do come up with all my materials and ideas before using finale, but I still seem to need it to verify that it sounds the same on paper, and if not the same, then good none the less.
  3. lol Mozart is the first person *known* to have composed twinkle twinkle little star, so for all intents and purposes he might as well have written it. Before Mozart it was really just a poem that was sung. I'm surprised by the criticisms posed at the Levitin book, because he does reference studies etc throughout?
  4. hehe not twatter... just a distraction lol If this was a tonal piece it'd be no problem but it's not and I'm just being a cry-baby, I know :D Time to get started again then.
  5. Argh...! I'm writing my first decent-sized composition by hand. I've been using finale for years and really do think it is worth taking the time to do it by hand. The piece is for full orchestra (for now anyway) and finale wouldn't have a hope in creating anything that sounds even remotely like the beginning section as it will use largely bowed cymbals and bowed marimba and also some quarter-tonal vibrato stuff from the strings. I have noticed that my ideas for this piece are far more sophisticated than they would be with my usual finale-based approach. I think If I can ever get it down on paper, it will be something worth listening to. Unfortunately, the writing of this is painfully slow and is making me incredibly anxious because I am in a constant state of self-doubt LOL Sigh. It will get better once I start trusting myself, I'm sure, but for now, it is just painful.
  6. Yup, So does this mean on the narrow edge of the gong? Or simply towards the outside (generally black-coloured) area? Anyone know where I can hear the difference?
  7. You're welcome, Gardener :-) ---- I have to wonder if the "ugliness" of dissonance has actually come from movies and T.V.? I mean, people hear the Psycho theme and they can't help but imagine that scene in the shower... I am forced to wonder weather a life-time of similar associations has lead to dissonance being "ugly" because it invokes emotions and images related to rather disturbing acts. It is the same with Major and Minor chords probably. Minor sounds "sad". We've all heard this, but does it really or have we just attached a sad emotional reaction to it? Any other thoughts?
  8. A recurring theme I see on this site is that music is has harmony, melody, or both. I think of music as organized sound. Sound that has been put together in a certain way to achieve a certain result. Ligeti is wonderful, but it is focused on the actual texture and timbre, not melody and harmony. Just like people will often put on a recording of the ocean or other areas of nature to relax - it doesn't have harmony or melody, but it is immensely pleasing. Just relax when you listen to it, let yourself actually experience it and you might be pleasantly surprised by how interesting and alive the music is. It is a completely different experience than listening to Beethoven, but it is none-the-less an amazing experience if you stop fighting with ideals.
  9. Puke green doesn't make you feel sick - unless you associate what you are seeing to puke. It isn't the colour, it is the association you have with it. haha you are totally right. Radiohead is a good example indeed. But then, why? I don't think it is the music, because what's being played in concert halls is often far from the most out-there music, but there is a stigma attached to it... Or at least, that is the way it seems.
  10. Then why does no one come to performances of Contemporary Classical music, but millions will go and see Andre Rieu? Or is it just that classical music is dead full stop and Rieu is only drawing crowds on showman ship? I do agree with you though, I have some friends who are 'classical' guitarist who seem to think things should always be 'pretty' whatever that is supposed to me. EXACTLY!!! That was what I was trying to get at.
  11. I dunno. Not as much as you'd like, I'm sure. LSO might pay a good wage though! lol God, I love LSO!
  12. Okay, I don't obviously think dissonance is bad, but the general public seem to think that it is... and I have no idea why. I mean, you play a cluster of notes, and it shouldn't sound "bad"... there is absolutely nothing about it to be 'bad' or 'ugly', it is just a sound... Why does the general public seem to attach so much significance to the sound instead of actually listening to it? It is like when you offer a kid something they've never eaten before and you have one of those conversations: You: here try this Kid: No, I don't like it You: Have you had it before? Kid: No. You: Then how do you know? Kid: It looks funny. (At which point you quickly remind yourself of the punishment for Child Abuse :P - just kidding) The irony with music is that people seem adverse to it in every situation except when it accompanies a visual stimuli, and then they don't even notice it. I mean, ask a non-musician to describe the music in the new Harry Potter movie, and they would probably not have any idea what they had just heard. There was enough dissonance in their that by 'normal' standards, people should cringe or turn their nose up at it... but they don't?! WHY! lol
  13. Just because we haven't got 'perfect pitch', doesn't mean we aren't receiving absolute information. In fact, as far as the brain is concerned, everything we hear is encoded ABSOLUTELY onto our neurons. Our neural networks fire in exact sympathy with pitch, and it is the relativistic part of our perception that science is still confused about. Out of all our experienced, sound is the only thing that is directly mapped. Also, our the neural response to music is so exact that you can actually wire someones brain to a speaker while playing them a piece of music, and you will get a very accurate copy coming from the speaker. I'm not making this up, go read the book "This is your brain on music" (I think that is its title)
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