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About Z4R47HU57R4

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    Starving Musician
  • Birthday 07/02/1991
  1. Compliments, you said that you weren't a good teacher... It isn't true at all (the king analogy was perfect and explained it very well!) and I thank you for the time you take for this. Now, after all I have a few questions though: The theoretical part about the cadence is clear, you have to establish for instance Cmaj as the tonic. But how exactly do you do it? I mean you say you need a cadence. DEF.zip Now I tried with another piece I had. The first example DEF1 is the one which I think is wrong, because it estalblishes Gmaj as tonic. The second example is DEF2, which, I think, establishes Cmaj as tonic. Is that what you mean by establishing a tonic by cadence (measures 4 and 5)? About studying scores, is there any sonata (from anyone, is hasn't to be from Beethoven :)) that you could recommend for studying, because it cleraly shows the cadence etc.? Thanks
  2. Sorry again for not answering, but I totally forgot about that awesome and intresting thread I started... And the email notification didn't work -.- Well for my knowledge of music, I play the piano since 10 years, guitar since 3, and I have music theory since 5. The theory at school is very poor, but I learned for my self more than that. A little problem could be the language, because I learned everything in German, so the I simply have to google the few terms that I don't understand, but that isn't a problem... I know what a tonic is, a cadence, consonance, dissonance and non-harmonic tones. What I don't know is for instance how to establish a tonality, which is one of the main problems of this piece. For the music style, you are right, I love classical music, so I try to compose like that (romantic, less baroque). I mainly compose for piano or guitar as you can see from the few threads. Now that you say it, I see the difference between the essential and the unessential notes. It's only that the unessntial notes kinda fill the "empty" spaces or change something, but neither the rythm nor the essential melody is changed. So, what'd you suggest to do to "improve" or to learn how to use that? Simply try and error? You say that you're a bad teacher, but really, you explain it better than my music teacher here at school :D Many thanks for the time that you invest in that, and I simply forgot it... I'm ashamed, but I've so much to do in school and the social life... Thanks again
  3. Wow... I'm overwhelmed... In a positive way, of course. First of all, very nice piece you made out of it, so could you, although it's not finished, upload the sheet? I'm really interested in diving deeper, and I really think you could be a perfect teacher, really... Your explanations are very simple and clear. There is something that is hard to understand (without a sheet): What do you mean by "D minor is not established as the tonic"? I saw, I won't compare anything with it, that Beethoven and Haydn (just exemples) did the same thing in few of their sonatas, using only the I. and the V.. You are right, the melody is much more captivating, with those short notes in it. Very well done. But what do you mean by developing the melody? And which are the techniques you mean by that? Thanks
  4. I'm sorry for not answering, but I wasn't at home for a long time... So I'm gonna post here one of my pieces where I'm stuck... I find it pretty hard to do what Tumababa said in the beginning, because, I don't really know where the piece will go, I only have idea, of how the overall should sound. ATM I'm trying to "force" me to compose every day about a half an hour, as rob1984 said... FileFactory.com - free file hosting Here you'll find the Sibelius file, a pdf and a recording (played by the computer...). Enjoy
  5. Ok, thanks a lot to you Tumababa. I think I'm gonna do it from now on. And thanks also to manossg, yes, you're right, I've studied the sonata form, but I think, it's not very wide the range of composition, if you compose as in that time (1. allegro, 2. adagio/andante, 3. Menuetto, 4. Finale) Anyway, thanks a lot to everybody!
  6. So... I don't know if this things happen to other people or not, but I'm asking your advice. Often, when I play the piano, I find melodies that sound good, and a few variations. Then I want to write it down, and I write it until the point, where my initial idea stops. Then I've like a blockade: I don't know how to continue the piece. Sometimes I have an idea for the main theme, and the idea for the second theme, but I simply don't know how to fill the gap within those two. I hope somebody will explain it to me, because when I listen to classical music, it seems so easy to me, I mean they use chords over and over, but in reality, it's pretty hard. I don't want to know how you can do this, but I'd like to learn to "fill the gaps" in the pieces. Thank you a lot for your advices...:thumbsup:
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