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Philipp Sobecki

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10 Good

About Philipp Sobecki

  • Rank
    Starving Musician
  • Birthday 06/12/1987

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  • Location
    Germany
  • Interests
    Guess what

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  1. Gylfi: I agree with all the positive things you say, but I don't see enough synergy to other composer-related topics to make renaissance-canon (not free counterpoint, but canon) not exotic. [/OT] Can you elaborate the hearing and rhythm aspects?
  2. Hey! In the last few semesters of studying music theory and composition, I've noticed that many topics one can read about are only beneficial for very few people, because the topics are so special. For example: Late Scriabin's harmony, Algorhythmic approaches for writing Palestrina canon, Glenn Gould's style of play, and so on. While I love some of these books, I don't see many other people actually needing them, because, come on, how many musicians are deeply intrigued by Scriabin's late harmony? Or how many composers really need (or want) to be able to write a Palestrina canon (aside from music theory studies)? I'm thinking about topics which maybe could be relevant for more musicians than just a few. So I'd like to hear what you would like to learn, if you had a wish or two. Just for brainstorming. I'll start: I'd like to learn more efficient strategies for my own composing. I imagine reductional theories (like Schenker or Lerdahl's Generative Theory of Tonal Music) which can be not only filled with basic harmony and counterpoint like Schenker, but with whatever goals I can have in a composition. After that, I'd like to know some strategies to elaborate these goals. This has more to do with creativity and psychology than with music theory. Now you :)
  3. Hey, I found it: Happy Ramen Studios. Thanks anyway :)
  4. I've got a similar problem: I want to write a glissando with a length of 5/32. I'd like to ask if anybody here knows a common way before inventing something that is hard to understand.
  5. Hi, a few months ago, there was a guy on this board who wrote anime music. He started a thread about his piano piece over a fan-made animation he had on his youtube-channel. It was about a girl playing tennis on a sunny day. A guy was watching her, and someone was having flashbacks about an accident (with hospital-scenes etc.) I'm looking for that youtube-video for two days now and can't find it. Can anyone help me?
  6. Hey guys, first of all, I'm quite new at YC. The lack of composition forums brought be here, so I've been lurking for some time etc. When I'm not composing, I often think about how I might improve my workflow. A week ago, I started to write something like a little collection of problems that I had while composing and how I got past them. I'd like to discuss it here. Both sides will probably benefit from that. :) First of all, I don't believe in universal concepts or techniques when it comes to composing. I prefer to approach every piece from total zero. But there are some "hints" and aspects which have a high probability to be relevant somehow in many pieces. Before I post it's current form (I have to translate these ten aspects from German :P), I'd like to ask you about what you consider to be important in your way of composing. What you would tell a student as a teacher or something like that. Greetings, Philipp
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