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compose yourself

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About compose yourself

  • Rank
    Composer
  • Birthday 01/22/1992

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  • AIM
    composeyourself7

Profile Information

  • Biography
    If you gaze for long into an abyss, the abyss gazes also into you.
  • Occupation
    Organist/Choir director, student..
  • Interests
    Sound, metaphysics, etc.
  1. haha. I ment to ask, does it makes you feel hostile? because that's what I was looking for..
  2. check out Ive's Variations on America and perhaps the coda in the first movement of Widor's 6th haha. Alot is possible..
  3. What I don't understand is how to properly use these. No one ever explains that.
  4. 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?
  5. 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!
  6. 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).
  7. 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.
  8. Have any of you come across an orchestration book (or books) that addresses the overtones characteristc to the ranges of instruments specifically?.. or atleast a somewhat accurate description using words (since I'm not sure if there is a unit of measurement for that, or something)...? Thanks
  9. YES! I suffer tremendously from this, and yes it is very much like being afraid... afraid that every note you put down isn't perfect. I usually devote hours, and sometimes days, to trying to overcome this, but rate of output is so slow.. I find spontaneous improvisation to help immensly, which is always something to make time for. Dealing with the vast range of possibilities of harmony organization of tones, ect, intensifies this problem for me. So, much time is also devoted to reading articles and new theory books (not to mention putting these materials into practice via excercises, which is, of course, essential to the purpose of researching such things). I take comfort in knowing I'm not the only one suffering from this, and would like to hear how others handle it, or would handle it......aside from going to a doctor, which I can't afford anyway.
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