OpusOneTwo7

I apologize but I'm out. My Sibelius is crashing my laptop. Don't know what to do about it :(

Uni's finally over so I'd like to take part if that's ok.

Hey, I was planning on writing on the two last days of the month but my final (of the finals) exam got postponed to today. If I can have an extra day I'll work on it and submit it Monday early morning at the latest. Would you allow that? I'd appreciate it! Edit: By today I mean Saturday.. exam got postponed to Saturday 29th.

You should keep learning and practicing (composing) and getting feedback from composers / teachers / professional performers / people you trust about your music. If this is ongoing you will mature and you will begin to know the do's and dont's. (Basically it means achieving mastery, gradually.) At that point you will know and you will begin to believe in your material. Just keep learning, and stay 'honest' in your art.

Also listen to Grieg's Holberg Suite. Simple but extremely effective string writing.

Can't wait!! :) :P

I'm ok with a challenge either way.

There is an obvious correlation between the music and its composer but there are severe limits. First of all, the quality of the music depends almost entirely on how much the composer has thought about his work and how experienced he is or is not. And a person's personality does determine what style he enjoys, how easily satisfied he becomes with his work etc etc.. but I don't believe it happens the way you put it, as in: an exciting person writes exciting music, a boring person writes boring music. Excitement and boredom in music depends on the composer's intention, yes, but also on his ability to follow through that intention (which takes years to nurture). The other problem with this is that there is no absolute of what exciting music is or should be. Aesthetics varies by time, place, and person. What I'm also implying is that I don't believe in the romantic notion of the composer - the musician who lets his feelings run wild and these produce art. I think that's bs. The composer is both an artist and a craftsman and the division between the two is really superficial and academic.

I agree that the shape of the melody seems somewhat odd but I like the challenge.

A clarinetist once told me that any gliss is possible but they're ineffective below middle C. Anything higher can be arranged with a combination of techniques.

Hi, I'd like to take part.

Walter Piston's text book: Harmony is the standard