daveyflavey

I like this very much, very nice textures that you get in this piece. In curiosity, what did you use to get pitch material for this piece?

music for 18 musicians :happy: But really this is a good piece, however, I don't think you should be afraid of trying out more startling harmonic changes. I say startling because the majority of this piece was based off of one harmonic idea. If you like writing minimalistic music like this, then I would suggest listening to the music of Perotinus (or Perotin, he goes by both names) His music will give you lots of ideas with what to do when creating a very startling harmonic change.

Performers I hate performers, they are the biggest obstacle a composer has to go through. Performers can make you want to quit composing forever.

In my dealings with notation, I usually find that no performer is ever going to be satisfied with the amount of notation that you put into your score. And since performers like to complain, this is something that you will be encountered with for the rest of your compositional life. As for notation in compositions, there are lots of different examples that you can analyze. A good place to start would be with the music of Gyorgy Ligeti, such as in his lux aeterna. That piece sounds like he could write it using graphic notation, however, he writes the music out traditionally using very very precise notation that is down to the sixteenth note. Going further, you could look at the music of composers such as George Crumb or, as was already mentioned, Penderecki's Therenody. That shows some good examples of abstract notation. And then the music of R. Murray Schafer is a good example of artistic notation, where you might accidentaly think that what you're looking at is a piece of art, but as you look closer, you realize that it is meant to be played. These are various influences that I have worked with in my own music in terms of different notational styles. I'll also post two links to two pieces that I have written that use different forms of notation. This piece uses what I call proportional notation. This means that the distance separating the notes on the page is to be used as a cue for how long the note is to be held for. Invisible for Solo Piano - sheet music Invisible for Solo Piano - mp3 This piece uses experimental notation (again, my term, may not be what others call it) this piece has lots of lines in it that represent the music. Intersections for 16-part mixed choir I don't have a recording of this because the choir's I have approached say it's too difficult to perform. There is a lesson there, write with weird notation, but make it playable. So, these are my thoughts on notation.

Nice piece, very melodic, nice orchestration. Please don't take this the wrong way, but this is not minimalism. This is more like music for film then minimalism. Minimalism would take what you have made here and turn it into a 3 hour piece. Look at Steve Reich, Terry Riley, Louis Andreissen, Arvo Part, and La Monte Young for some good examples of what minimalism is. But I really did like it.

Can you guess what technique I used to compose this? 012

I know you want to know more about serialism right? That's why you're taking a look at this thread. Serialism is a method of composing music that usually uses math to back up the composition (in a very VERY obscure description). And since there is not a lot of atonal music on this forum, I figured Hell, why not! The man for this kind of music is Karlheinz Stockhausen. Check him out. Kontakte - Electronic Music Enjoy.

Someones been listening to a lot of Beethoven... A good piece.

very well done. I don't think that it's a second mouvment. Much more like a first.

Very well done. Reminds me of the music of Erich Korngold.