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Everything posted by SYS65

  1. Site failed yesterday but now works normally, and they moved deadline to Feb 24 (maybe because of the fail) you still can submit.
  2. I checked in the avant-grade scores I have (like Penderecki's Fluorscences) and I didn't find any term for that, maybe there's not a defined word for it yet, you may use "graffiato" but I wouldn't know what it means, you'll have to add some short explanation at beginning of the score. There is a "Capriccio per Siegfried Palm" for solo cello by Penderecki where I seem to recall he uses that technique, but I've never seen the score.
  3. my 2nd and last try, I don't think I can finish a 3rd in these next 3 days. http://www.hanszimmerwantsyou.com/tracks/3139
  4. here is mine: http://www.hanszimmerwantsyou.com/tracks/2403
  5. That happens to me sometimes, but I don't know exactly when or why.
  6. First, learn the basic harmony. Scales, at least major and minor, in all keys. C,D,E,F,G,A,B is C major, notice when is whole step and when is half step, C to D is whole, but E to F is half, so you have W,W,H,W,W,W,H steps, that will be always a major scale, so if you begin in G, doing same scale you'll have G, A, B, C, D, E, F#, why F# ? because you're keeping your scale structure, you have 1 sharp now in your scale, if you begin in D you'll have D, E, F#, G, A, B, C# why ? same answer, etc for all keys, same with flats, if you begin in F, you'll have F, G, A, Bb, C, D, E why Bb ? same answer. Learn all scales, keys signatures, how many sharps you have in E major, which notes ares sharp, same for minor scales. Once you are familiar with all that, learn your degrees, which chord consist each of your degree in your scale, if your in C major, you'll have these degrees: C, Dm, Em, F, G, Am, B(b5)* , why in D is a minor chord ? because in C major your F is natural. why E is minor too ? because G is natural. Why F is not minor ? because your A is not flat, is natural, why B is dimished ? because it's 5th (that would be F#) is not sharp is natural, now notice which degrees are minor and which are major, I,IV,V are major, II,III,VI are minor and VII is dimished, well this will remain for all your major scales, in A major, your degrees will be A, Bm, C#m, D, E, F#m, G#(b5) why C#m is minor, because your 3rd (E) is natural and that makes a minor chord, why F#m is minor too ? because your in A major scale and your A won't be A# to make a F# major chord, but is natural so is a minor 3rd. When you tell me you understand all this perfectly, you won't have any problem to write down what you play. Very Important, learn all this in the staff AND in piano keyboard, no matter what instrument you play. Good luck. *I use jazzy chords, but outside jazz, you can find other ways to write chords like this, might be Bdim, or Bø or others.
  7. I'm sorry, I don't understand your questions, are you talking about "modulation" that is when you change your key, let's say the piece is in E minor and you want to modulate into other key, like perhaps A minor ? If that's so, you can jump to any key you like, and you can use the dominant of next key to make the change, for example: |----------E minor-------------| |---------A minor----- Em, Am, D7, G, C, B7 Em, E7 Am, Dm, G7, C etc is that what you mean ?
  8. Well there is no particular progressions that could be related to church service, is a whole style, you can find the same progression in a pop song than in a religious hymn, is style what defines it, beginning with the use of the proper instruments, is not the same IV-I in electric guitar than IV-I in pipe organ (which by the way IV-I is a common "Amen" replay to many prayers), also depends on what church are you talking about, is not the same Palestrina Motets than Gospel hymns. Ask the priest to give you a list of what he wants, hymns, or masses.
  9. Yes, development is what you need to learn, try to think in what can be next to that theme, or how could be a variation of it, move a bit in your harmony, then go back, start thinking in your overall form, what kind of composition you think you can do with it, if it's short, it's ok, how short ? how many sections could it have ? perhaps you can use a 2nd theme as secondary, practice harmony and rapidly move your theme to other keys, you can try to modulate into a higher key as final section, build a cadenza, don't overwork in the same project, try to finish it, no need to create a masterpiece yet, if you're not totally satisfied with it, it's ok, you'll get better, but finish it.
  10. hahaha I'm sure it is for some, but there are aaaallll kind of composers in this world.
  11. don't use perfect chords, add 7ths to all your degrees, adjust melody to work for them (I'd write chords first)
  12. Yes, that is why you need a real DAW like cubase and not a notation software with vst support like sibelius, it only loads sounds but is not designed to control them properly, any library no matter how good it may be, won't give you good results within a notation software.
  13. What you call "real sounds" are called Libraries, (the real recording of each note of each instrument, what we call "samples") and these are loaded using a "VST instrument", I don't know this MuseScore but you need a program that supports VST, these programs are called "DAW", so what you need is this: a Library (such as Garritan Personal Orchestra aka GPO, East West quantum leap symphonic orchestra aka EWQL, Vienna Symphonic Library aka VSL; there are many many of these, depends on the sounds you want) a VST (such as Kontakt or Aria Player) this one might be included with the library, and these two must be compatible eachother. a DAW (such as Cubase, Sonar, Reason, FL Studio, Pro Tools etc) What you see in this picture is the 3 things working together. In the background is the DAW (in this case is Cubase) which contains the sequence of notes for each instrument and other settings, all this is sent to VST (in this case is Kontakt, that window) and this Kontakt has loaded a library (this case Alicia's Keys) which is a very realistic library of piano. You can have as many libraries as you want/need/pay (see at left of Kontakt that computer has installed also "Acoustic Legends" "Session Strings" "Vir2 Violence" "SR5 Rock Bass" etc, and you can load into DAW as many VST as you need. This way you can use "real sounds" of instruments to play your music.
  14. In windows I would browse the Sibelius registry keys, I'm sure it must be a value you can edit, but I don't know in Mac.
  15. If you can find a midi of the work, made by someone had the score of it, you can try to import midi and make a score from it, but if not, your ear will work better than any possible software for recognizing the music, all I can tell you is that what I've done and I find it very helpful is to play the audio with a program like Adobe audition, first you can have good zoom to choose which section to play, you can make loop it, playing slower, try to filter some instruments, etc, it better than normal players trying to adjust the progress bar. Which work is it ? you sure you can't get the score ?
  16. How you will know I didn't start the work before the 3 days ?
  17. Only now I realized you have problems because you're using "Sebelius" :D YOu shouldn't have problems, now that I think about it, I have never done it in staves others than Piano or Harp, that sibelius somehow understand as 1, but never crossing Flute to Oboe for instance, try again in a double staff piano instrument you created by add instrument.
  18. not sure what you mean but try to drag the part you want to move.
  19. you write all notes in same staff, then you select the notes and use Ctrl+Shift+Down to move them to the lower staff, Ctrl+Shift+Up will move them to upper staff, it's called crossing staff. Also you may need to hide rest on the other staff because crossing staff notes are visible in the other staff but they count as they are still in the same than the others.
  20. Something more or less like this: Baroque: http://www.youtube.com/watch?v=WQRB3befRMo Baroque-> Classical http://www.youtube.com/watch?v=lQpD-EXtvzg Classical http://www.youtube.com/watch?v=Zegl7_zMj_Q Classical -> Romantic http://www.youtube.com/watch?v=W9CYLAuKdtU Romantic http://www.youtube.com/watch?v=KhoYauWJh54 Neo- Romantic http://www.youtube.com/watch?v=gcBg-tXn0fs Neo-Romantic just before everybody started doing his own style :P http://www.youtube.com/watch?v=URKGIa0b_jI XX Century http://www.youtube.com/watch?v=hlR9rDJMEiQ XX Century http://www.youtube.com/watch?v=LnuN_TORtC4 XX Century http://www.youtube.com/watch?v=C68SkzGb6Ww XX Century http://www.youtube.com/watch?v=jwA8xKAIfbg XX Century http://www.youtube.com/watch?v=EoDhmR5eZr0 XX Century http://www.youtube.com/watch?v=pF-F6-VFCWM XX Century http://www.youtube.com/watch?v=ePBB-NO8vKg It gets more and more complex in harmony, rhythm, colors, form, development, every single aspect of music. EDIT: Oh, "Contemporary" suppose to be what composers are writing right now... but in style, not in dates, I could write a baroque piece in year 2013 and it won't be contemporary, some composers live in a period of time but write in another, older or newer.
  21. Shosty Sym. 11 ? too new right ? you want it older examples... let me keep thinking... http://www.youtube.com/watch?v=IVPKpKrR8YE 7:03
  22. I can't recall an specific passage of a work with it but I'm sure you can find them in Grieg music... btw "mediant" is the name of a degree of your scale, not of an interval, is a very common mistake, not any 3rd you see is a "mediant", i.e. in C major your "mediant" will be the chord of E minor, nothing more, not the A mediant of F major, B mediant of G major etc... is like "dominant" is also a degree name, your dominant is G major chord, not any 5th you can find.
  23. Anything can... Note: In case you're in a school and teacher says you have to do what book says otherwise is "wrong". then do it like they say while you finish school.
  24. The best answers you will find them on the scores themselves, start studying orchestral scores, and try to play them in piano, you won't play every single note on score but try find in piano the main idea of what the composer could have had before completing the orchestration, I recommend for you to start with Sibelius "Finlandia" and "En Saga", or Grieg "Peer Gynt Suites 1&2".
  25. I think it has to do with the effect certain frequencies create on ones persons brain, this effect depends on how these frequencies are aligned, their shape, ratio etc, and this happens too with your eyes seeing colors and shapes, or even your nose smelling a perfume. I wish I could explain this more scientifically but I can't, all I can say is what I've discovered myself with the using of chords through the years. The 5th, probably the most natural interval, is pretty well received by brain, it automatically merges as a very stable sound. Chords that have several 5ths aligned within themselves tent to sound "better" to ear, for instance a Cmaj7 has two 5th, C+G and E+B, or Cm7 it also has two 5ths C+G and Eb+Bb, it is not the case of C7, C+G but not E+Bb, so what happens if we turn it into C 6/9 ? It can have C+G and G+D it kinda enhances its sound. It will be even better if we speak of 9th chords, like C9 will have C+G, E+B, G+D having three 5ths sounding there, in minor Cm9 will have C+G, Eb+Bb, G+D... Now, it may not be enough to make something sound "pretty", how you know something is pretty or good, if you don't show what is ugly or bad ? If I play a C+Db+E+A+D it may not sound too good, it will even sound so far from the chords I was describing first, that it will be rejected as material, it simply can't work with other chords nicely, so I will find something I can use, without using my first "5ths" chords, and that is when dissonances will help me to make little joint points between my initial chords, so I can build a chain of sounds without using my main material all the time, let's say Edim (E+G+Bb) and A7(#9) working as II and V of a D minor piece, these chords are not several 5ths but tritones and other intervals, and they could work like this: Dm7 (D+F+A+C+F+A) Gm7 (G+Bb+D+F+Bb) Edim (E+Bb+E+G+Bb) A7(#9) (A+C#+E+G+Cnat) the last two chords may sound a bit unstable, not too good to be heard alone, not too good to stay there for long time, but they help to do a variation so at the moment I repeat the chords and I listen the Dm7 again, it reminds my brain how good it sounds, so I never use the 5ths chords so much that brain might begin to ignore them. This is not theory taken from any book, it may not work the same for all persons tastes, I don't even know how to call it, is nothing but what I've found myself while composing, I hope it helps you. :)
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