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SSC last won the day on September 10

SSC had the most liked content!

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9,109 Excellent


About SSC

  • Rank
    LOL Dispencer

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

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8,629 profile views
  1. Indeed, when you die of starvation under a bridge clutching the last remaining pages of your magnum opus, things will indeed have been taken care of by themselves: You'll be too dead to care about income!
  2. This guy's great. He sounds like a discount politician. I'm really excited that he has recognized my inherent talent and POTENTIAL to help him out! I mean, this guy's nothing short of a goddamn visionary! He also knows we are GREAT! And above all else? He's appreciative too! Man, what more could you possibly want!!??
  3. I love this. Make it sound better by, and I quote: That's the best advice ever man. Something's wrong with your music, ADD MORE NOTES until it sounds good! Enough notes, and it'll sound fantastic! The sky's the limit! Why limit ourselves to some of the notes, some of the time? Why not ALL THE NOTES, ALL THE TIME? If that's not a recipe for success, I don't know what is!
  4. 40 british pounds a week? God that's kind of expensive, no wonder you're a STARVING MUSICIAN, HA HA HA HA HA HA HA HA HA.
  5. Compatible huh? I don't know, but I've seen they sell adapters on Amazon.com, so with some luck you can get something that'll work. You do have to keep in mind that if the composer is 110v you need a step down converter if the other composer is from a 220v country. Mumble mumble, polarity? Wait, what if the composer is AC but the connecting composer is DC? That'll create all sorts of problems. No, better to just buy your composers in your region, that way you'll be sure they are compatible with whatever it is you want to connect them to.
  6. The weather forecast. You wouldn't believe how annoying it is when suddenly it starts raining cats and dogs and your scores get wet and you have to hang each individual paper to try to dry them with a barely-working hairdryer that makes more noise than the launch of the space shuttle. Additionally, you wouldn't know this unless you had extensive experience being a professional serious composer such as myself, but dogs, man. Dogs. They'll eat all the god-damn things they shouldn't, including your scores, notes, paperclips, CDs, small wind ensembles, you name it. If you see a dog, you would do well to remember to immediately scream at the top of your lungs and scramble in the opposite direction, though by that time I'm afraid it's already too late. So, the best thing you can do is carry a small firearm, preferably something in the 9mm range, so you can immediately shoot any dog that crosses your path, lest they become the biggest obstacle in your journey to achieving musical greatness.
  7. Clusters. Clusters EVERYWHERE. If that doesn't work, fire. Literally set things on fire. On the stage. That always intensifies things, guaranteed. It also draws the fire department and/or the police, so free publicity!
  8. Why, you go back the way you came of course! Duh.
  9. There is simply too much music and not enough people to A) play it, B) listen to it. That's all there really is to it. If the Pareto distribution law is anything to go by, the vast majority of music played is dominated by a tiny fraction of composers and even in that subset it's only a tiny fraction of their output. This is why the reality is that composers write for other composers, as almost nobody else has any interest in anything other than what the pareto distribution throws their way. For them the old Warhorses are "good enough," so why bother look for anything else??
  10. 12-TET tends to sound all the same, for a good reason. It was the point of the system. Now, if you start using other non TET systems, or even expand to 24TET or so, you really can get a lot of different sounding things. So, emotions or not are kind of irrelevant if all the keys are the same. Barring perfect pitch people, nobody really cares. Much more interesting is when the keys are NOT the same, then you can really get some mileage out of the system.
  11. Like a decade or so ago I ended up coming to the realization that originality is so relative that it's really a pointless discussion. It's relative to the amount of knowledge you have of what already happened. On the other hand, the "spirit" of originality is a cool thing, which is to take the stance that as long as it's original to YOU, then it counts and it's worth looking into. Eventually as you get older and become knowledgeable, it's hard to perceive things as really original in the sense of "Nobody's done this before!" Rather, you end up putting a lot more value on what each person can bring from their own creativity. Ultimately, I think that's the best way to describe my stance on it. I see everyone's musical input as original seeing as there's only one of each person with a unique perspective. Does it render the word kind of meaningless? Yes, but I did say that I thought it was a pointless discussion at the start didn't I? Another thing of course is the fact that our brains work basically in the same manner, generally speaking, hence there is a very large degree of similarity in the way people tackle musical things and that of course cuts down on the "originality" business quite a whole lot. You end up only with cultural deviance or outliers if you're looking for something different enough to count as "original". It's sobering to realize that the hypothalamus(and friends) is responsible for a vast majority of musical structure (among other things) across basically all cultures, but stuff like that brings into perspective that a novel interpretation of "originality" is really a fickle thing. Also: I wrote that in 2009, basically as I was exhausted with philosophizing this very kind of thing. I figured, a performance held IN YOUR MIND, is going to be infinitely unique to each and every person. Kind of taking the idea of "originality" and running it right into the ground at full speed.
  12. Examine bassoon parts in the typical orchestra repertoire and get an average for how long the phrases have to be. Do as other do and you'll be fine, the rest is just musical preference.
  13. Try everything. Just write music instead of thinking too much about it. There's no real "rule" how you should write a piano concerto, unless you're specifically copying someone.
  14. There's a bunch of things you need to do/pay attention to. I'll make a bunch of lists now. Budget, because you need to pay for: Musicians (concert and rehearsals) Venue (for the concert itself and maybe if you need to rehearse there beforehand.) Logistic (travel costs if people are not from where the concert is) Misc (Food, lodging, whatever comes up) Then venue: Does the venue allow for rehearsals? How often, how long? Do you have to pay extra? If you need a piano, does the venue have a piano (and if so, what kind, which tuning, etc.) What's the lighting situation. Can you set the lighting yourself, is there a technician, etc? Cost, of course. Sometimes venues will collect a percent of the ticket sales, you need to get that all in writing. The meatbags with their noise-implements: Certain instruments (usually stuff made of metal) need time before rehearsals to "warm up," take that into account when planning your rehearsals. Dress code, which usually isn't a problem, but it can be with singers and, well, women. Not a "problem," exactly, but it's something to add to your checklist nonetheless. Applause rehearsal, because seriously this is important and it reflects on you as a composer that everyone knows what the hell to do during applause. Encore? Plan at least for two short pieces (or a repeat of a catchy bit from the concert program), because being optimistic helps group dynamic! Keep rehearsals short and precise and try to schedule them either before or after lunch, since you don't want people hungry while they're trying to follow a 32th 7/16 marimba passage. If your rehearsal is so ungodly long that it overlaps with lunch (or dinner), then make sure you give your musicians options for taking a lunch break. This is your responsibility as organizer. The actual concert, finally: Organize your concert program so that if you suddenly need to move 5 marimbas and 2 pianos across the stage, you don't do it between short pieces. Keep large things on their own concert segments separated by a pause. 15 minutes is good enough for a pause, only do longer if you need to move 10 marimbas and 4 pianos, or something that requires very specific preparation (like tuning a harpsichord to a specific tuning, whatever.) Calculate the time the concert will last. This is very important specially when you're presenting the project to interested venues. You need two numbers, the actual length of the music proper and the "real" length, including pauses between movements, stage setup, pauses and applause. Can also include introductions, and any other thing that happens during the concert. Round upwards always, things take much longer than they may at first appear. Make a good and proper concert program that people can have during the concert to read up on important things like your biography, how great you are, and why everyone should be like you (great). Don't forget to ask the musicians if they are OK with including biographies for them in the program and allow THEM to give you their own text. Edit for size, but not for content. Also helps to add a list of the pieces performed along with their length and any other things you think are interesting to know. As a super helpful tip, if you can't fit it on a double-sided A4 paper, then you need to reedit. And if all of this doesn't scare you, then congratulations! You're ready to annoy strangers with your weird pieces for dog whistle and garbage truck.
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