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Peter_W.

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Everything posted by Peter_W.

  1. The whole point of the voice leading "rules" is to prevent sounds that are weird to post-Gregorian, Western ears. If you were writing this for a beginning composition class, it'd be technically correct. But you do have a lot of note trading between voices. That's usually undesirable because to the ear it seems like a line disappears. When you are concerned about the rules, you want every voice to be heard all the time. Don't cross, don't make voices disappear, don't have parallel or direct 5ths or octaves. Just about everything within those parameters are okay (with a couple other exceptions concerning the soprano and alto behavior at cadences which I'm sure you're aware of). My .02 : )
  2. I love how no one answered this remarkably easy question, in the five years of the thread's existance. And I'm not about to ruin a good thing.
  3. Man, this site has changed. A lot.

    1. HeckelphoneNYC

      HeckelphoneNYC

      :O You said A LOT. not alot! Yay Peter!

  4. I love how any idiot can log onto chat anonymously and annoy people to their hearts' content with no repercussions. Way to go, YC

    1. jawoodruff
    2. Peter_W.

      Peter_W.

      It was YOU! O_O

    3. jawoodruff

      jawoodruff

      No, I have mine offline now because I just spent about 20 mins tonight with the same thing. :\

  5. As a general rule, unmarked notes means play with articulation and length at the discretion of the performer as implied by the style of the piece (or explicitly stated by an expression marking). "Non-legato" is a meanlingless term. It's been that way since notation began. Schostovich!!
  6. I use IE. I believe Serge uses Chrome. And I think Tokke uses something else? Still getting the problem, just checked. It LOOKS different, but it still doesn't work.
  7. The media player STILL does not work on IE. It's extremely annoying, I can't listen to anything. Come on, now.
  8. No, I mean the use of unpitched percussion. x_x Hahaha! I actually enjoy rhythmic development quite a bit, rhythm stuff comes pretty naturally to me. Math mind. Warning noted. I may or may not be done with this assignment before then. Either way, that sounds rather exciting. What are you doing up there?
  9. ah, crud. You serious? Alright...probably gonna do this one by hand.
  10. IN TRADITIONA PART-WRITING, second inversion chords in triads (7th chords are different) are almost always used for one of very few reasons: as a pedal point, as a passing motion, or as a cadential figure. The reason it is dissonant as a triad is because your bass voice will always have the richest overtones, rising up in an extended major chord. When the distance between the bass and two upper voices is a fourth and a sixth (a 6/4 chord, or a 2nd inversion chord aka), the overtones of the bass note conflict with the sounding voices above. That's where your dissonance comes from. If you don't write traditional music, I'd say don't worry about it too much. It's good to learn traditional part-writing, don't get me wrong. But practically speaking, write what you want.
  11. And the media player is still not working. IE and Chrome too. Dude, beta test or something. Please. >_<
  12. No, I got it. There are other pieces like that. But the music has to be sound. The piece has a gimmick, obviously, but if it DIDN'T have the gimmick and was still a solid piece of music, then I'd definitely like to try it.
  13. It's funny. I'd look at it. If it was a smart composition, I'd read it. If not, I'd make a mental note about this composer and move on.
  14. The audience is what the audience is. They like what they like. Your music will not change that. Unless you write protest music.
  15. 1st day of training: well, at least I'm alive right now.

    1. Show previous comments  1 more
    2. Peter_W.

      Peter_W.

      Not military training. Parkour. ;)

    3. jawoodruff
    4. Peter_W.

      Peter_W.

      yep. lol. still sore, but can't wait till session 2

  16. So now you know what the LOW end of a fair price is, if he was willing to go up to it. :) Keep it in mind for future deals, bud.
  17. doesn't feel so stupid. :) But still feels stupid. ;D

    1. cjplumblossom

      cjplumblossom

      stupid ribbit

    2. Peter_W.
    3. cjplumblossom

      cjplumblossom

      my attempt to make you feel stupid again has failed.

  18. Why. Not to be overly facetious, but sometimes that actually is a prudent option when you want to dispell an inappropriate figure. In this case, I can see no advantage to flippantly blowing off a client's legitimate question on $$$$$$ to be paid out to the composer.
  19. Hey, I lova the last minute $$$$ gigs too. ;) Have fun!
  20. IMO I'd rather learn fixed and simply think numbers for scale degrees. That's what a lot of perfect pitch people I know do.
  21. I'd rather have learned fixed do. I'd have basically perfect pitch if I had. I'd imagine you'd need to get proficient at moveable do, though. What I'd suggest is in your brain, assign some sort of added, subconscious indicator to distinguish between what you hear NATURALLY (fixed do note names) and what you need to spit out for your students/professors. Like, perhaps fixed do notes are 'blue' and moveable do notes are 'red.' Overemphasize the scale degree by also imagining 'do' also being '1.' Something like that. It stinks, but those are some tips I think may help.
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