Freudian Slip

Where do you draw the line? I find myself favoring the second space on the staff. A and below is up and B and above is down. But then I get to eighth notes where one is below and one is above and have a conniption about it. I end up basing those on which is farther from my line.

This is (Surprise) a really simple piece that I started randomly writing months ago and never finished. I worked on it for a couple weeks and then it basically died. I have no idea if anything can be done for it or not. It's a piece for bass clarinet and piano(I actually wrote it for bass clarinet and string quartet originally but switched it over to piano). The bass clarinet part is very simple. I think some of the piano parts might be impossible for those of us without abnormally sized hands but other than that I think it is technically playable in my experience. That being said, I'm not a very good piano player and I'm not much better writing for it. So yeah...comments...suggestions...what have you. MP3 PDf

I mostly compose using Melody Assistant. I find it to be a very easy way to compose. When I'm not around my computer I will compose by pencil and paper though.

I really enjoyed listening to this piece and would love to play it :-P. I wouldn't mind it being a little longer but meh.

This really didn't start off as any particular thing; just a trio for recorder. However, I quickly realized that it made good adventure music for a Zelda-like RPG. Really simple. PDF MP3

I found this piece to be very nice and I really enjoyed listening to it. I agree with Morgi that it sounds like cinema music but I don't feel like that's a bad thing at all. Quite the opposite, I feel that it really inspires a sentimental, almost longing feeling.

Thank you for the comment on the horn part especially. I haven't found much about a horn's practical range. As for the horn part in the piece, I know it says quintet but in reality it probably should say sextet since I intend for two horns.

While not all that complicated(read: Not at all) Aaron Copeland's "What to Listen for in Music" goes over a lot of the basics.

I guess you learn fastest at the beginning :P

I'm not sure if this is the right section... This may seem like an odd question, but stay with me. How does one keep the same method through a piece? I find that when I'm writing, or arranging, a piece of music the way I orchestrate, etc a part changes as I learn and progress through the piece. I don't mean to say that its a bad thing, it adds some variation, but it frustrates me a little when I go back and am then unhappy with the beginning. Am I the only one who does this? It does seem to be happening less pronounced as I learn more and develop a style. What about in a symphony that takes years to write? :blush::unsure:

I'm always stricken by "Gabriel's Oboe" from the movie The Mission by Ennio Morricone.

So this was something I started writing the other day with no direction really in mind. I started it off much faster( 1/4 = 98bpm) and my boyfriend suggested that I change it to a slower tempo(1/4 = 50bpm) which he said he liked better for it. It isn't exactly complicated; complicated stuff isn't something I'm really capable of yet. It is a very short piece, 2' 14" in length. The 2 trumpet parts basically trade off with the melody and and the rest of the brass support. I only wrote for 2 horns and I wrote them in octaves for simplicity. Dissonance abounds. Also, I'm not terribly sure what the practical range is for horn so it may need some reworking. Comments, suggestions, literary stabbings, criticisms, etc. are all welcome. Sorry, the program I use has a scrafty sampling for trumpet sounds so it is a little cringe-worthy in parts. Also, it won't export to .pdf so .bmp will have to do :/. Thanky :D Page 1 Page 2 Page 3 Page 4 MP3