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SSC last won the day on March 17

SSC had the most liked content!

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About SSC

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    LOL Dispencer

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    Attack on Alpha Base! Captain Starr's Last Stand!!
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    The Threat of the inviso-vampires from Jupiter XII!!
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    Amazing! The First Voyage of the S.S. Proton!
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    Peril in the Caves of Planet X!
  • My Compositional Styles

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  1. Yes. Though I'm mostly alt-rock in how I do things. I usually write using a guitar instead of piano, tho. I also learned how to sing and play at the same time, and I think it's a little easier with a guitar, but that's just preference.
  2. Or you could as well just write music to already existing poetry as a way to practice. I'm sure getting exposed to it is just as important as trying to write it yourself.
  3. I never said it was bad, it's just what it is. I take it as a homage of the stuff I like/know, it doesn't bother me in the slightest if something sounds similar in some detail or other. Considering "serial music" doesn't sound like...anything specific, I don't know. It's just a composition method, like many others. What it produces it dependent on how you applied the method, hence why Stockhausen sounds pretty different than Xenakis or Boulez. As for Schoenberg, he's basically a lot more traditional than Webern, who was much more forward-thinking with his use of Schoenberg's ideas. I find it really hard to call Schoenberg a serial composer when a lot of his music doesn't use any such system and when it does it tends to be still very traditional in many ways.
  4. I think the best thing you can do is play covers of songs you like already and see how they're made. You often don't need much, just a few chords if it's a typical pop tune. Once you have done enough of that, you can go and try making your own combinations of chords and melodies. Obviously, I'd recommend you just pick up a guitar and learn to play the typical 5 or 6 pop/rock chords and play around with that, as that's the most common way pop/rock music gets composed. Piano works as well, sure, but it's a little trickier, I think, but you can do it just as well.
  5. You don't need new material, you just need to work on elaborating your ideas. Specially your orchestration, since a lot of variety in orchestral music is from using the same material in different instrumentation. Yeah that's going to always happen. You can't really avoid sounding like what someone else if you're writing in a musical language that has so much music written in it.
  6. About the piece: I'm kind of sorry you don't have a score, since I would be able to say more things if I had it. Otherwise, yeah, it's got that kind of "movie soundtrack" sound to it, but I think it's competent in doing that. One thing I think hurts it to me is that you basically have the theme in the start and then everything else that happens is just kind of inconsequential until it comes back and repeats. I mean, it's an ABA form, but you could do so much more with the middle segment after the theme is done. About the exercise: It's not bad, but I personally writing four part harmony exercises never helped me in the slightest. I hated those theory classes and doing annoying homework like that. Instead, every time I wanted to try stuff out I'd write actual music with the ideas or chords, or whatever. I did a lot of instrumental counterpoint which has helped me much more than any harmony exercise since I think voice leading is much more important than what harmony you have.
  7. ???? You could've as well said "Follow your heart!" or some nonsense, for all that's actually helpful. Instead of criticizing me, show you actually know something about the topic that can be actually helpful, or just stay out. I did this 9 years ago based on that exercise I mentioned. This is probably a good read if you're curious how it works.
  8. It's like this: Composing and orchestrating are two very different things. Do not confuse them. The point of orchestration isn't to "write for orchestra," rather it is to adapt your ideas to any kind of ensemble. So, to that end, you can learn a lot from making transcriptions as well instead of just writing for orchestra. I'll give an exercise that helped me a lot (and addresses your counterpoint question.) It's like this: Take one of Bach's 2 voice inventions, no matter which one, and arrange it for string quartet. You only need to really follow this rule: You are not allowed to write more than two voices at the same time UNLESS you are switching instruments (so that means the first beat of the new measure can get played across the old and new instruments so you don't end up with measures cutting off suddenly.) Otherwise you're free to select freely which instrument plays what, in what order. Play around, see what feels better to you. You can repeat this exercise once you've done two 2 voice inventions with the 3 voice inventions, using the same rule as above (only 3 simultaneous voices are allowed.) In fact, here's a thread where I work with others on this exact exercise! So, to actually answer your question, only need as much counterpoint as you want, really. You can be all Brahms like and have tons and tons of counterpoint, or like Wagner and be very selective of it. It doesn't matter, it only matters if that's what YOU want. If you feel your counterpoint is lacking, I can help with you with that, but know it isn't then a weakness of your orchestration but rather of your counterpoint skill.
  9. Oh my, this book actually exists! https://www.amazon.com/Music-Composition-Dummies-Scott-Jarrett-ebook/dp/B001B8NW8C I'm blown away. I'm really curious now how they wrote something like that.
  10. I didn't say you are or aren't creative. I don't care either way, but you know composing is 90% hard work and 10% creativity. This is something you can practice.
  11. I literally meant that I don't know what difference you're making between "copying" and "rewriting." Explain what each means exactly since I don't understand. Copying is note-per-note copying? or is that rewriting? ??? I'm pretty sure there's enough analysis books out there on that, but there's no better way to study it than to study the stuff you want to imitate. Harmony, form, etc etc. What's so hard about that??
  12. It can help you, but if you want to get "better" at composing, you need to actually compose. Studying history and all this stuff is good and all, but you need to be composing every day, even if just exercises.
  13. Studying and composing are two different things really, so don't worry about that. If anything, letting stuff influence you at the start is a good idea and kind of natural for everyone.
  14. I don't know really, we'd have to ask him. But I think it's a procedure, like making Fugue subjects. Once he probably figure out a theme motive he liked, he could then figure out what kind of theme it would be and the general proportions. The typical proportions are 8(usually 4+4) measures and 16 measures, but this can change depending on the composer and the time period. You can also ask me about specific examples, if you have anything in specific in mind.
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