Jump to content

Contrabassoon

Old Members
  • Content Count

    21
  • Joined

  • Last visited

Community Reputation

10 Good

About Contrabassoon

  • Rank
    Starving Musician
  • Birthday 01/01/1981
  1. Hi, I tried to search first, using the... well, search function and it seems as the function has an error of some sort. I just wanted to ask about theory textbooks. I'm talking about music theory textbooks, obviously, and I would like to know some of the best ones available that covers rudimentary to atonality in depth with suggestive music and examples. It would be a PLUS if it also had jazz theory as well. Also, it would be awesome if it was no more than $200, and widely available. I did my time in a university as a composition major. It's kind of embarrassing, actually, to ask the names of descent textbooks. :S, lol. Thanks in advance, -CB
  2. Hello people, I have 4 sopranos and 4 altos in my piece. The altos are (for verses) singing in a very rhythmical style, but the problem is... the text is "doo" (just the for the altos). Will that sound okay in a performance setting? Thanks in advance -cb
  3. I'm assuming that you are located in the US of A? I'm from Canada. From what I have gone through, 1. Theory Exam and/or short ear-training 2. Instrument audition and ear-training 3. Portfolio (your music) I tried for 2 schools, one school required an interview. The dean(?) or the coordinator asked, why are you here? what do you want to do? what is your ultimate goal? what is your music like? The other school didn't even ask anything, I didn't even get to meet the composition department. However, I had written all the same answers on my application. Are you classically trained? In terms of the studies and composition? Anyway, I hope your auditions go well. Once you are in, it's quite a journey...!:whistling::toothygrin: All the best!
  4. I would say, Mixing the methods of one and two are better. Every professors I've met follows the first method mostly. I find for writing shorter pieces, the second method is better. For longer pieces, i would say the first one. This is what all my profs. recommended/ordered :whistling: I guess they want me to take FULL CONTROL of the piece not the other way around. But then, the careful planning is already taking control of "me". But then again, I'm writing the plans. However, I'm bounded my plans. I don't know....:toothygrin:
  5. First of all, I don't wish to offend anyone here. I've seen a lot of students who were Double Majors or had a Major and a minor. Additionally, I've seen 2 Instrument Majors (or at least they were trying to be). Apart from, let's say Piano Major + Composition Major, I've never seen any Double (whatever) students do any one of 'em well. I think Instrument + Composition Major works quite well (at least at my college). Not A LOT of extra work involved except of course, more electives and such. But then, none of them really EXCELLED on their instrument or in composition all at the same time. That is my case (hoping to change that around soon), and many other students' cases (hoping to change that around soon). Definitely those 2 Instrument "Majors"; I've seen a lot of students trying to tackle 2 instruments at a time. Only lucky cases were able to move on (to one however), almost all of them didn't (at both). They were wasting their time. This is what I've seen so far in 3 years in music College. Strictly speaking in terms of College and College-success(?), not real-life success. I do agree with people saying you gotta know how to play more than one to survive; definitely. I play both Guitar and Bass Guitar. Double Jobs!!!!! But then those instruments are very similar; especially in trad. Rock settings. ...Had a "friend" who tried to tackle guitar, piano, flute and voice. The "friend" even was considering becoming a theory Major! (Respect!) This wasn't all done at the same time but the "friend" did try 3-4 categories at the same time. Imagine taking half hr. lessons in guitar, piano, flute and voice; all in a week!
  6. Nicola, what do you mean by developing an extra-musical idea? You are right about saying there shouldn't be a list. I don't even deserve the list to be honest. I lack the years of classical study. I think that's where my problem lies; lack of understanding of fundamentals and general study. Peace,
  7. Thanks guys, Thanks for the link, advises and your interests. I believe, i will have to work extra hard. I'm in 3rd year university study coming from no classical music back ground. You would think that I get enough tutorials and lessons at the school...I do, but i do need extra help and even more extra self-study. I'm getting a lot of criticisms from the profs. Therefore, I'm quite hesitant to show you my "work". Although agreeing with the statement, "criticisms are really helpful", i think i received enough criticisms for a year! haha Thx all
  8. Hi I just have a question. It might be very difficult to answer. It might sound real stupid and pointless. How can I develop my ideas when composing? I have written couple works; they sound complete and all is swell. But I would like to have one idea and that developing throughout the piece. Most of my pieces are like, one idea going for 20 measures just go to another idea and new idea after that. It's too.... fast moving! I tried to do like "look for chord in m.3 (let's say) and let's arpeggiate that chord. Or trying to stretch out the melody and see all kinds of relationship. But it doesn't work, maybe I suck. It begins to sound like a boring old pop song. Any help please? Thanks.
  9. What do you mean by 3 lines? tom-toms(high)|----------------- tom-toms(mid_)|----------------- tom-toms(low_)|----------------- like that? For example; i would have closed h-hat, open h-hat, snare roll in that order, would the notation be +, o, /// (32nd? roll)? (o) being closed and (+) open; written above the high G of Bass Clef (X with ledger lines indicating its duration). What if i wanted them to change instruments really frequently, like within a measure (close, open, low wood block, high, roll snare, bass drum?)
  10. Hello I'm Contrabassoon. I have a percussion piece; almost ready to be played. I was wondering how to notate for these instruments. Concert toms (three kinds; i think high-mid-low), snare drum, bongos, suspended cymbals, hi-hat, woodblocks, small gongs, chimes and anvil. Percussion notation - Wikipedia, the free encyclopedia, but i need more help. Thanks.
×
×
  • Create New...