Pickles

Thanks, that was a good idea to change the final chord to something more unexpected, so I raised the A to an A# in it. So now it's an A#sus2 instead of an F major chord. How delightfully weird! Midi: mary lamb reharm 2.mid

I used the matrix derived from the tone row 0,5,8,1,4,9,2,7,10,3,6,11 (my favorite) to reharmonize Mary Had a Little Lamb. I didn't follow all of Herr Schoenberg's rules about 12-tone music making it, rather I treated the matrix as 2-dimentional scale, so you won't see all 12 notes in it. I guess you could say I followed the spirit of his method, rather than the letter. I treated notes that are closer together on the matrix as more sympathetic harmonically. Here's the piano roll of the end result: And a midi: mary lamb reharm.mid

I've never heard a Duduk before but I youtubed it and listened to a song Yanni wrote that uses it. Sounds like an english horn mixed with the breathiness of a bass flute, so those'd be my two suggestions to start with.

google 'david cope', he has some of his software for dl, but they're in the form of LISP scripts, so unless you have experience working with those....

David Cope has written software that will take in a composer's work and spit out stuff in the same style. It's eerily good. It works basically by markov chains. Also there are all sorts of serial techniques out there. I think was MB was trying to say is that it's easier to define "bad" music than "good" music so we could make a machine that writes random compositions then spits out the "bad" ones leaving only the good. I think..... http://en.wikipedia.org/wiki/Riemann_hypothesis

If they understand what I was trying to do in a piece of music, I listen to them. If their criticism boils down to "it doesn't sound nice", I ignore them. I've been composing for 12 years, it is not hard to make music that sounds pretty.

I understand it as sharps are what you've got when you're going up (to the right) the spiral of fifths to generate pitches and flats are what you've got when you're going down (to the left).

Thanks moderators, the music is straight 16th notes, with every 8th note one or two octaves "under" the main melody, forming a sort of bassline. Should just write "ON" over the relevant notes then or maybe use a down arrow instead? I tried googling "effects pedal notation" but I didn't find anything with that. Robin J if you could give me a link to that page, that'd be great!

Let's say I was writing a piece for solo elec. violin, and it uses an octaver pedal. How do you put that on the score?

The ondes martenot.

Hi CJ. How's it coming along?

:P Yeah...what can I say.... Anyway, muchas gracias, otra vez.

So cool! Thanks for playing it! I'm so happy to FINALLY hear it =D =D =D =D =D What part is it? Sounds so different on a real instrument I don't recognize it! -_- You play it very well though! I started out making trance music when I was 13 or so. 25 now. Just now starting to learn how to write for REAL instruments, which I'm finding out is a whole different enchilada. Anyway, I didn't intend to make this piece difficult, but it's actually a serialist piece and they tend to work out that way.

Okay fixed stem direction. I think you might be able to play the high G in 27 as an artificial harmonic by playing the lowest G on the D string then lightly pressing where you'd play the C above it on the same string, if that sounds any easier. Duet-midi.pdf

Plumblossom, thanks, could you make a recording of you playing it? I know it wouldn't be perfect but I'm dying to hear it played on a real instrument :) Edit: actually let me figure out if it's possible to do the high G in 27 as a harmonic first.