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About kly45

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  • Birthday 05/27/1990

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    Composing, playing guitar, piano, bass, drums, synth. Reading, movies, computer games, getting drunk

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  1. Totally depends on the piece. For example if i am writing a piece with paradigms or motifs I usually start at the micro level and work my way up. At the moment I am working from a macro structure that also applies to the micro rhythm of the piece. So I guess overall you just start with an idea or concept and think of the possibilities. There isn't really a definitive step-by-step way for me. 1. Create concept/idea 2. Think of possibilities either structurally or the theme development 3. Write piece and use critical judgement to inform decisions.
  2. Hello I am writing a piece for 4 flutes. Each flute moves up in glissando patterns to create microcanons. I was speaking to my tutor about this the other day and he said that simply going from a low not to a high note via glissando on flute is limited because of the fingerings. My original plan was going from a low F to a high D sharp. with all the tonal and microtonal qualities in between. What is problematic about this? If I am starting from an F what is the highest note I can reach via glissando? Thanks
  3. I don't know why but the file didn't attach. Here's attempt two.
  4. Oh hey everyone, I haven't been on this thing for ages. I am at uni now, studying composition among other things. For one of my assignments we have two different ways we can compose our piece. 1st - Using archetypal shapes or phrases that get repeated with variation, in the style of Syrinx by Debussy. 2nd - Talea and Color in the style of Messiaen. Chord patterns that phase in and out of the pulse of the beat. Here is my idea, i'm going with option 2 btw. I have a 12 tone row which is basically a set of four major and minor triads. The idea is that the base holds the route, once the rest of the triad is played, the bass then moves to the route of the next chord, basically creating three chords per bar rather than two. Here's an example. As you can see in the attached file, it appears as though the chords are: (F+ maj) - (space) - (Cmaj) When in reality because of the held on F+ there are three chords (F+maj) - (F+, E, G) - (Cmaj). The piece continues like this with the route in the bass and the response in the violin and viola being separated. Eventually the viola's rhythm is augmented (x 0.5) and the violin's diminished (x0.5) which creates the middle and the top line phasing in and out with the bass line. Sorry if that's a lot to take in, but is this an example of a talea and color? Is this technically an example of a modern passacaglia? I need to know i'm on the right track. Thanks
  5. I thin her music is ok, but people go on about her like she is doing something extraordinarily original/different. Which is kind of annoying, she's good, just not "AMAZING!!!!!!1111"
  6. http://naturalismo.wordpress.com/2009/10/07/the-monotone-symphony-by-yves-klein/ ^ Yves' monotone silence symphony, it's nothing but one note repeated but it's a beautiful note :)
  7. I don't agree with paying, it makes it seem like a lottery and many 'young' composers are strapped for cash (esp if they are too young to have a job or go to college etc)
  8. Hello everyone not been here for ages but still busy writing ;) I have recently been asked to audition to a university with composition being my first study. They want me to bring in my own work but I just want to ask what do you guys think are the best things to send in. more traditional forms/systems like fugues and sonatas Atonal music or more experimental stuff or a mix of everything? And obviously I can compose but I also need to learn allot (that's why I need to take the course!)so will they pick up on bad points on my pieces and punish me for this? Also if anyone could tell their own stories of what they used to audition to composing courses it would be a great help.
  9. I used some silence techniques in a piece for my school exam .The piece is only abou 2 mins long (due to the exam requirements( and I used silence for about 1 and a half bar lengths. I am looking to Extend this technique in some of my next pieces hopefully. Anyone heard QOTSA's songs of the deaf? They use quite a allot of 'false endings' where they go silent and start up again. This is cool ;ive becuase they can go silent for ages and then 'kick in' again, so it might be cool to put this idea into a contemporary piece.
  10. sorry I just seen this comment on the first page and quoted it.
  11. we've already went over this, the thread is about other pieces that use silence in music and it's effect, rather than just that piece alone
  12. (newer>)Okay let's focus on the use of using silence in music. e.g the effectiveness of say, leaving some movements or large bar numbers empty. Does it add effect, would anyone on this site consider using these techniques or is it a bad idea?? etc etc (older bit >) So I was looking around on wikipedia and read about John Cage's 4'33" e.g the one with no notes in it. I understand what he's trying to do, and I admire allot of his other work, but I just think the concept is a bit crap and pointless, like why bother composing rests? I also found out about these pieces Alphonse Allais's 1897 Funeral March for the Obsequies of a Deaf Man, consisting of nine blank measures. Erwin Schulhoff's 1919 "In futurum", a movement from the F
  13. Are you a complete idiot? Just tell me exactly what 'Personally' means? If I like Glass and not reich than that's an opinion you idiot! secondly I feel sorry for you, the fact that you see music as mechanical and not emotional, where do you think art comes from? It's an expression of human emotion. You must be a robot.
  14. Hi I bought Sibelius off the store a few days ago. I just noticed on another thread that it says they only ship to America, yet, I live in Britain and it accepted my postcode etc and allowed me to buy it. Can you ship to UK yet or am I out of luck? There's no notice on the store that it only ships to America Also if you do ship to UK how long does it roughly take? Please help! I'm worried!
  15. well this is the standard for today, 'thinking outside of the box' means putting gimmicks into pieces and making them sound simple and atonal. I personally like glass, but not people like reich etc. I don't think the similar patterns matter in his music, I think they manage to touch you emotionally and generally sound good whilst being simplistic which in itself is hard. That's probably why loads of people like him.
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