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About Trickshot

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  1. Well......it's obviously not necessary. It's not like its impossible to compose without it. But learning what the instruments are capable of can help immensely in a realistic sense. Some instruments have a very hard time playing in certain registers and sometimes the easiest thing on one instrument can be a pain in the donkey....too much trouble than it's worth...on another instrument. But I think the keyboard is the basic instrument to have knowledge on. It's the only instrument I can think of that his all of the notes spelled out for you in black and white...literally. It's a very good visual tool and helps you understand scales and relations to other notes a lot better. I started out on marimba and just knowing that gave me very useful knowledge in composing even though I know theory only to a high school level. Keyboards are very useful. Primal knowledge on the instrument you compose for is crucial if you ever plan on someone actually playing your music. I once composed some very simple rhythmic and tonal passages for Bb clarinet once a while back, and my girlfriend took one look at it and laughed.
  2. Thanks again, for all of the comments. I find them very helpful. And I have a problem with counseling and medication. Specifically medication, which I plan to never go on again. But for the both of them, I feel as if I'm being defeated or using a 'crutch' when I do so, and I want to cope own my own, I don't want to destroy my creative self, because when I'm happy and stable, I'm consistent, but when I'm natural, I may not be consistent, but that's the only chance for true beauty to emerge. I want to deal with the ups and downs of composing just like every other composer does, while dealing with the severity of my moods. I think it's a great, but dangerously stubborn way to look at it, but that's the only way I can ever find a true smidgen of happiness in the course of my lifetime. I like what everyone is telling me, and I'm taking it to heart. And as for the girlfriend thing, I'm not going to rush out and get one, if I get a girl-friend, I'm going to have long term compatibility in mind as well as pure desire and I don't want to be stressing over a nuisance. But I find all of this very interesting, just how pure confidence can raise me and lower me in my abilities, and how so many psychological factors can play a part in my music. I just hope that one day it can show through my music, because it's impossible to reach with words. I feel so indifferent at times, and so very similar in the same breath. I only hope that my own depression never defeats me. I hope that I can learn to cope with my two conflicting sides and just do what I love. I just think a lot of this information, perspectives, and opinions are helping me, at least with the composing, and I greatly appreciate it.
  3. Drum corps tune their marching drums according to pictch. An F is commonly used in snares, tenors are done in intervals of thirds I believe, and basses is something else, quite interesting.
  4. I find it even more ironic that I was thinking that just before I read this post. :O
  5. I see nothing wrong with that aside from the fact I'm not accustomed to mallet percussion being noted that way. But I've seen it that way before. I know what one of those slashes mean. Others may not if they've never been exposed to different types of percussion. (Honestly, I've never seen it outside of a marching percussion venue.) But at that dynamic, I doubt anyone would even attempt to stick it otherwise. That would be quite difficult and awkward.
  6. Wow, the ignorance. There's also no difference between an oboe and a rusty squeeze box. :whistling: Comparing percussion to a jogger is just out of the question. Drumming is about time, technique, clarity, color, and much of the same thing any instrument that gets out more than one note. Well as a matter of fact, drumsets have toms, batteri have basses and tenors, and so on and so forth. Anyone can take a snare drum and think of it as making one sound. Only a percussionist can do rimshots, crushes, stick shots, rim knocks, clicks, stick flips, all behind one snare drum... need I say more? You simply lack knowledge and understanding of percussion. I think maybe you should think about it more before you say something like that, no? Drumming is essential to a lot of music. Therefore, I think it makes it very musical.
  7. This is kind of neat. Principles of Orchestration On-line - northernsounds.com
  8. I know in finale you can open midi's and see all of the parts written out. That's good enough for me to see. But I s'pose I'm not the judge here. :P Can we do arrangements? As long as there's no copyright issue involved, or is it all original?
  9. Yea, that is along the same lines of what I am saying. Mozart was simply writing for the aristocrats' rather than writing anything he wanted. So he just wrote what they liked...or whatever made them want more...and I think it turned out kind of 'snobbish' sounding, if we want to use that word. I don't disagree with you either. But I'm sure that's one of the only things that movie portrayed accurately. :P (Tom Hulce or something?...they really couldn't have picked a better man, but boy did they really make Mozart to be something mad)
  10. If it's a double here and there I think it should be noted that way. But if it's a double stroke roll, like for snare drum, I like it with the slash marks. I think it's easier to read a triplet roll when it's triplets with a slash rather than 24 6th notes. In drum notation, I almost always prefer it slashed I guess. I've never seen it outside of that. I would be kind of taken aback if I saw that on let's say, vibes or something. When I'm writing for drums, I sometimes switch depending on what's going on. If the tenors have scrapes which can't be notated with slashes, I would notate all of the battery with open nation, no slash. But if it was a union roll, I will almost always use slash. Same with bases. Individual rolls get slashes, but bass splits are always written out. I just do whatever feels right, as long as it means the same thing, you can notate it however you want, but I obviously some ways are going to be more logical than others.
  11. I see a lot of Mozart's music as being 'snobbish.' But I like that. It shows how good of a composer he was. He spent most of his later years in Vienna composing for the "snobby" aristocratic royalty, and that's what they perfered. I don't think it was because Mozart was stuck up at all. I never used the word snobbish per say...
  12. lol, MusicMan, you are just digging yourself deeper. My drum major was gay two years ago, though. ha But this recording is very homosexual. This recording likes other male crappy recordings. I can just tell. I noticed the skill of the band outwieghs the skill of the battery percussion. You guys seem to have a very clean brass sound. Which is always good. It's either not loud enough, or the drums are two loud. (it could be the recording) But even when the battery plays as a low dynamic, I can still here them cutting through the band, I don't like that. The drumline doesn't have much chops, but it was arranged very nicely. Good n' tasty. It seems like a lot of the show fell apart quality wise during the third movement. I wish there was a better angle to see the drill. Everyone seems to be staying in step, no phasing really going on or anything..that's good. But overall, it's a lot better than most of the bands I see on youtube. And I liked it.
  13. Wow, that was really helpful. All of the replies were just..marvelous. That really helped me. I guess I'll study music and maybe perform in the band at the community college I'm going to attend, but save the dire classes for the university I'm going to transfer to after I get my credits. (I plan on going to Middle TN State Uni...which has a very well distinguished music program, and is going to be hard to get into.) But after listening to this, I fell much more encouraged. That's great. Thanks for the replies.
  14. -PICK ONLY ONE- What is your favorite suite from all time. I almost said the Planets, but honestly, it's a good piece, but all but a few movements rather bore me. :blush: I'm going to have to say Third Suite by Robert Jager (I do believe) It is composed of a inticing march, a warped waltz, and the most memsmorizing rondo. It's only three movements, but I do enjoy it. It lacks an overall vivid concept, but you reconsider when you hear the pieces in succession. There's plenty of suites by many classical and contemporary composers, and I would like to see others opinions and maybe I can change mine..!
  15. Ok, I really don't know jack about music, really. I know my theory. Basics. Take high school band for an example of my knowledge, even though I tought myself prior to my band experience. I played percussion which consisted of being well rounded on snare, timpani, and keyboard mallets. (Marching drums as well.) So, there is my music history. Not much to set me apart there. I wish their was a better venue, or some great teacher that I could take in as my mentor, but I'm afraid that's not possible. I've made it my mission to pursue music. I don't want this to be mistaken as a lustful dreaming, but a longing. A need to be centered around music. I only wish I could have started earlier. Music is driving me so crazy, I can't even been a child. I'm merely 17 years old! It's a constant driving force in a lot of my life. Now that we got the bs out of the way, I want to know where to go next. College is a big deal on my list, and that's where I s'pose I must turn for the most fulfilling education I can receive. (I plan on studying and researching psychology as well.) Another one of my favorite pastimes. I will have to admit, that my main interest is in composition. I'm not too big into theory, and really only take so much of it to heart. As see it as a logical, methodical way to approach music, but I don't want it to skew true creativity. So I want to stay on the artsy-creative side and compose what I want. I haven't heard of anything past Theory IV and I don't plan on being any type of theologist on the subject. I really want to get some big ear training. That's big for me. I have quite a horrible ear, and that gets me down. But my main goal is composition. And obviously the foundations for composition lies in theory. I know that, and I know I have to fight the urge to want to put theory aside. It's inevitable. But will college teach me everything I need to know? Will I be able to put take beautiful, harmonizing, melodies and movements straight from my head and down to the paper? I notice I compensate by writing music off the paper, instead of off my head since I have no idea what notes are going through my mind. I am kind of composing music now just by picking a scale and letting it flow. Look at shapes and numbers, anything besides actually getting into formal theory training. I want to preserve all of that learning for formal training. So my questions are really.. -How far will college take me? -Do I need to worry about which school teaches me theory, or is it all basically black and white text no matter what. -Can composition be taught? (I know, never fully, but there are composition classes and whatnot.) -What do you think the most attainable, or the best degree for a composer? -Should I do anything before college? Do I need to work on anything , like theory for instance, or should I let them do their job and teach me. (Honestly, I have more faith in them than trying to learn it myself. Rhythms and scales are no problem, but attaining much high knowledge gets complicated without some sort of methodical approach.) It's just about that time to start going into college. I have the grades to go many places, but I'm afraid not the pre-requisites to get in any big university. (i.e. FOREIGN LANGUAGE. ) So what should I do now? I don't know if YCF is the right place to go, but it's the only place I know of to get different opinions from one venue. Thanks in advance. (Meh, if anything isn't clear, like my intentions, ask me questions, and I shall provide an answer!:toothygrin:)
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