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Everything posted by 920bpm

  1. I'm from Melbourne too, how many of us are on here???? :O About the announcers, I think the majority of the stations' audience like it that way. I'm not crazy about them, but yeah, I don't listen to them all that much.
  2. Here we go again... I like how everyone who bashes Cage ignores every other piece of music he wrote
  3. I can wait as long as you want. Thanks so much. :) Oh, dont worry about Syrinx, I have the music for that now
  4. Hey jujimufu I would really appreciate those notes. Do you have the sheet music for it? All I've managed to get a hold of is a sample first page from some music purchasing website. I could actually probably still learn a lot from that. I'd like to check out those other pieces too, I have a recording of density, but not the music. thanks heaps :)
  5. At the end of last year I applied for a composition course which I didn't get into, but I managed to get some feedback from the head of composition later on. He suggested among other things looking at this piece, especially at the voice leading in it. I know what voice leading means in the context of a chord progression, but what does "voice leading" mean in the context of a solo piece like this, is it just the way the line outlines the harmony? Also if anyone has the sheet music for it, I'd really appreciate a copy, if not, I'll just transcribe it. Thanks all
  6. I love Satie There's a Satie piece (I think it's Embryons Desseches) that parodies that ending, its so funny.
  7. Oh cool, I will have a listen to it. All I have is a cd of Symphony No.2 and a whole lot of shorter pieces like Central Park in the Dark and the Unanswered Question. I haven't really heard enough Bernstein to make up my mind on his music, but I like the guy, I like how into jazz he is for a "classical" composer.
  8. I like Ives. Does he count? I need to check out more of his stuff though.
  9. I think it's a bit over 200 for me.... and I'm young and only just getting started. I like having the real cd, I buy a lot more than I burn, plus I don't really listen to music at the computer
  10. I've played guitar for 11 years, and I actually knew how to read notation before I ever came across tab, because I started off learning classical guitar. I do play in a "rock band" by the way (though hopefully a slightly more adventurous one than most :thumbsup: ) Anyway, reading notation doesnt necessarily equate to understanding how music works. I know plenty of musicians who can read but wouldnt have a clue about say, why a particular chord goes to another one or anything like that. For these people notation is just as much a form of communication as tab is for the rock guitarist. We seem to be loooking at this from a real 'composition' point of view, but there are plenty of musicians out there who are performers far more than composers, who don't necesasrily know how music "works" but can play great music all the same. There were, and are, for example really talented jazz musicians who can't read, but have picked up everything they know by ear, and are they worse for having learned that way, rather than off paper? Of course reading notation can teach you a lot about composing but I think it's really stupid to say someone's not a musician if they can't read cos in the end, for me, it all comes down to the music one makes, not how or with what knowledge or technique it's made.
  11. OOPS! I only ever came across these threads in the masterclass forum :blush: nevermind then. I'm gonna keep following this thread because it's awesome, but I wouldnt want to burden you with Sibelius files you can't open and so forth :closedeyes:
  12. Whats the next best thing to a Finale file qc? I only have Sibelius. :P
  13. Oh OK, thnaks for clearing that up :thumbsup:
  14. Is that anything to do with this? I'm about up to the woodwind harmony chapter in that orchestration course as well, but I really didnt get that bit, it sounds really really strict. Can anyone make sense of it?
  15. But wouldn't that push that high F out of the range of the oboe? Also, qc or anyone who knows a bit about this already, would my ex. 2 & 3 "work"? Would I get the effects I described?
  16. Thanks for doing this qc, fantastic to have someone to give us all feedback on our attempts at orchestration Here are mine, am looking forward to the next lesson:
  17. Thanks qccowboy, yeah I haven't really been thinknig about context yet, I'm still getting the hang of the basics but I will keep all that in mind.
  18. Thanks for the answer Calehay, I just want to get this straight: with these chords (in the jpeg) I could take chord 1 and double the bass, which would get me chord 2, and it would work, as far as bringing out the bass? Chord 3 however, would be very "unfocused", same as chord 5, becuase the both have notes between the bass and it's octave, whereas chord 4 would have the clearest bass of all. Is that right?
  19. Greetings comrades I've been going through the Rimsky Korsakov orchestration course at northernsounds.com and I just got up to the harmony section, and I'm a little confused about a few things: 1. at the start of the "general observations" chapter (http://www.northernsounds.com/forum/showthread.php?t=46968), it talks about duplication of parts to get 5, 6, 7 or 8 part writing, which makes sense to me, but many of the examples of chords later in the chapter don't seem to fit into this "system", they don't seem to be (eg for widely spaced part writing) duplicating first the alto, then the soprano, above that and then the alto again above that. It seems more arbitrary than that. So is this duplication "system" just a guide then? 2. about widely spaced harmony, I don't quite get the whole doubling the bass bit: so the bass can be doubled "in one octave" does that mean it can be doubled one octave higher or one octave lower? And is the basic point they're making that one shouldn't put anything between the two lowest notes of a chord if those two notes are the bass and it's octave? 3. at the very end of the "general observations" chapter, there are two "schematic examples" of progression in contrary motion. Are Rimsky and Belkin saying these examples are bad because voices are being added or subtracted? That wasn't very clear to me OK, thats all for now, thanks very much in advance
  20. Thanks a lot montpellier and manossg, I think I will use them both. :)
  21. I remember reading somewhere (but I cant remember where) that perfect fifth double stops on any one of the string instruments that are tuned in fifths are surprisingly difficult to intonate properly or something along those lines? Is that true? Also, is it too much to ask of cello and viola players to play major and minor third double stops in their low to mid range?
  22. Yeah, I am meaning to get a teacher too, I just haven't found one in my area yet
  23. Yeah that too, are there any beginner books that don't actually go deep into the "this is known as a note. This note is called C" stuff??
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