compose yourself

A friend of mine, a film major, approached me to score a short film of his for a certain scholarship competition (which he ended up winning). With my busy schedule, I had very little time to do so -so I decided to upload the visuals onto pro-tools and place my laptop on the music rack of my piano. I proceeded to use the visuals as a 'score' for the music, which I improvised in a single take. For me, it was interesting to review some of the unconscious assimilations I made between the images and the music.Here's the link: http://vimeo.com/13633509 Illusive escape (film haiku)

I felt like writing a traditional fugue last week, so I did. I haven't written many fugues, so critiques/suggestions would be helpful in my development of this [somewhat useless, yet interesting, and fun] ability. Thanks for your time. Fugue in G (study)

I'm asking with all honesty

haha. I ment to ask, does it makes you feel hostile? because that's what I was looking for..

I agree

...

check out Ive's Variations on America and perhaps the coda in the first movement of Widor's 6th haha. Alot is possible..

Scriabin's 4th sonata. done.

Jean Barraque

What I don't understand is how to properly use these. No one ever explains that.

Nicola Canzano, although this book probably isn't exactly what I'm looking for, I'm interested in reading it along with its partner, "Structural Functions of Harmony," anyway. Do you have any idea which would be better to read first?

Yes, that is very helpful indeed.. Even the books that came up when I searched 'Fourier Analysis' are pretty much what I was looking for. Thank you!

Luigi Nono. Fragmente... that says it all.

I guess something like that- charts, furthur explanation of timbre of registers (although I don't think the shape of wave would be necessary). Each instrument has a variety of timbres in its various registers, and/or different volumes. Some sort of appendix for this information would help in choosing the component sounds which would contribute most efficiently towards the desired effect (provided balance is observed).

yes, the only factor in sound production which governs the color or 'timbre' of a sound is the presense or absence of overtones and their relative strength or weakness in relation to the fundamental tone. Overtones give a sound its characteristic quality. So all instrumental sounds are combination sounds, consisting of a predominant tone and various overtones, harmonics or 'upper partials'. So for example, they can vary from the simple mellow flute sound (a predominant tone with very few quiet harmonics) to the strident muted trumpet (with strong upper partials) or to the cymbal clash, with its harsh jangle of dissonant tones and overtones. I hope this clarifies my question.. I'm not sure if there is a definite, or accepted way measure this... or, again, if there are any orchestration books that make any serious notes of it, because most of what I have read only briefly mentions such things.