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About Majesty

  • Rank
    Rhythm Theorist

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  • Gender
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  • Occupation
  • Interests
    Music, Tennis, Weight lifting, video games
  • Favorite Composers
    Too many to list...but you can hear their teaching and influences in my approach!
  • My Compositional Styles
    My style defines itself through a personal listening experience
  • Notation Software/Sequencers
    Finale Software
  • Instruments Played
  1. Yes, Thanks. The link you posted if by the same user for the link I posted. It seems that he had taken them down then reloaded them.
  2. I haven't been continuously active on this site for a long time (due to being busy and trying to take time away from cyber world). However, I have signed from time to time to check out pieces, see how the site is doing and where it is going. Although I have appreciated the "look and feel" of some of the older style forums I am pleased, appreciated and understand why Chopin must continue to try and move the forum forward in such a way even if it seems like constant changes and upgrades. I will admit though, when I have signed on and would see the changes I was thinking "hmmm...again?" but f thought "must be something he's trying to work out or finalize".
  3. Another return to Young Copmosers and checking out the site after being away for some time...Loving the new look!

    1. Ravels Radical Rivalry

      Ravels Radical Rivalry

      Good, I like it too. There are a few minor odds and ends to sort out, but I think this is very close to a finalized look. It is very organized and easy to navigate with no dead ends anywhere.

  4. Well, I don't have a free sheet music link, but my online-store with my scores is now up and running. Right now I have only stocked the store with 4 chamber works as it will be continually updated with more works. Jubal Music & Publishing The site works best with Internet Explorer although I use Firefox myself.
  5. Well since you have already listed my name/website (thank-you) all I can say is that there will be some changes to the stie coming in a few months. Once those changes along with additional info is added I'll announce an update in this thread. :)
  6. Very nice! I enjoyed listening to your playing. You have a wonderfuly sensitive style of playing. Do you consider yourself equaly gifted with technique and sensitivity, or were you more of a natural with one over the other while having to really grow in the next through your teacher? I had to ask because as a piano teacher I have had some very gifted piano players pass through my studio over the years who could play with any passages and technical hurdle with much ease but trying to pull the sesitive musician from within them was sometimes more work than I wanted :P
  7. My purpose for mentioning the inaccuracy of the film in the title is simply because there are young musicians who believe that the film is accurate and I'm sure there might be some on this site. I shared the clips of the "Making of" because I enjoyed them and thought others would find them interesting and enjoyable as well. I do say that the film "unfortunately wasn't the most accurate" because it would have still been possible to tell a great story of intrigue and drama by play or film and still be accurate.
  8. Here's the making of the film "Amadeus". We all know the film unfortunately wasn't the most accurate but the making is quite enjoyable. Its in 6 parts YouTube - Amadeus - The Making off - 1/6 The other parts of course are off to the right..enjoy.
  9. 1) The resolution from the Leading tone is always a half step whether in Major or Harmonic Minor and Melodic Minor. In Natural Minor it would be a whole step. The aim of the Leading Tone resolution is to get to the Tonic. 2) The resolution of the Sub-Dominant in the Minor would become a whole step and not a half step. The aim of the Sub-Dominant resolution is to get to the Mediant. 3) And yes, the resolution of the Sub-mediant would become a half step instead of a whole step. The aim of the Sub-mediant resolution is to get to the Dominant. 4) For now, The resolution should happen only whenever there is an opportunity in succession from chord to to chord and in any of the three parts of the chord only where there is an opportunity. I have provided a couple examples for you. Resolution example.MUS
  10. I'm sure if you contact the member who posted the video they might be able to help you out with that. Or perhaps you could visit the BBC website and see if the DVD is available :)
  11. Here's a portion of a nice documentary on Vivaldi and the music he composed at the Orphanage. YouTube - Vivaldi's Women Here is another link to another Vivaldi Documentary. There are a few parts to it But I'll just post the 1st part to get you guys started.
  12. My point was that throughout history there were composers who knew that their works would make an impact even in death. CPE Bach once wrote about a sacred piece of his that "it would secure his name". You don't ever read things like about Bach but you do about other composers. That was the point I was making.
  13. 1)The reason I asked you to begin on the Tonic is so that we can at first work with a more traditional approach and understanding. Usually but not always starting a progression with the tonic and then working around the Sub-dominant and Dominant harmonies helps to solidify the sense of key. 2)For some it may be a little difficult to use harmonies that employ 7ths simply because there is an added "richness" that can be seen or treated as "dissonance" that sometimes "sticks out". When creating harmonic progressions is always key to consider the individual notes of the chords as independent voices that are following their own paths that included times of consonance,dissonance and resolutions. 3) For now the Subdominant chord does need a resolution as the progression will sound unfinished. 4) Yes, 7th chords do have a 3rd inversion because of the added 4th note. So in that case you are given an additional option. 5) Remember that you will have both Major and minor chords that exists in any one key. For example in the Key of C Major the ii chord is a d minor triad. So for now as long as you are staying within the given key you may use all types of diatonic (natural) harmonies of the scale. 6) Yes, natural minor would have been ok but I do prefer the Harmonic minor because the Harmonic minor scale gives you more options for triadic harmonies right away. I like the corrected progressions you offered much more. Ok, so now here is the opportunity to discuss the traditional view of scale degrees. For now I will talk about a few scale degrees and their "movements" in a progression or in voice leading. These practices are not set in stone but for now I'd like it if you consider them more often than not. 1) I'll start with the Leading Tone. Typically the Leading Tone "likes" to resolve up by half step. 2) The Sub-Dominant "likes" to resolve down by half step and sometimes up by whole step. 3)The Sub-Mediant "likes" to resolve down by whole step. For now these three practices I'd like for you to keep in mind. Now I'd like for you to go back to your progression and consider what you have created. Right now there is nothing "wrong" with your progression but with these 3 Practices I listed I'd like for you to think about perhaps think about adding some adjustments to your progression so that some of the notes involved in your progression has a purpose driven sense of movement. You don't really need to change the types of harmonies unless you'd like to. If you give it a try and have problems or are not quite sure let me know so that I can give you and example using your own progression.
  14. Ok, I took a look at the progression. First I would like to start with the progression you created in C minor Harmonic minor. Here we have a problem. The progression is supposed to be in Harmonic minor but if you were to go back and examine the progression you would see that some of your harmonies do not come from the C minor harmonic scale. Instead the progression and tonal center has some ambiguity which is not what we are aiming for in this case. I would like for you to go back and examine some of the harmonies and make the changes needed to reflect "Harmonic" minor. Also I would like to you to have the progression start and end on the Tonic Chord. Next is the progression in D major. I like this progression but here again I would like for the progression to begin and end on the Tonic Chord. The last two chords of your example gives an unsettling feeling for the progression. For now, usually the resolution of the leading tone is up to the tonic and that of the Sub-Dominant is down to the mediant when dealing with harmonies and chord progressions.
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