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robinjessome

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Everything posted by robinjessome

  1. Please, no. Not the "good music / bad music" thing again.
  2. And, despite my best efforts to solidify the terminology, that's not the music they're talking about.
  3. ...and by "21st century music" you actually mean: "avant-garde contemporary art music", right? I'm only being half-facetious, but really, a LOT of music has been made this century.
  4. 100% yes, everything I've written has benefitted from my experience as an instrumentalist. Trombone less-so than piano, but I find writing music at an instrument to be considerably quicker, more intuitive, and more organic than anything I could produce without it. Hearing physically how tones will react to each other is valuable, regardless of the eventual orchestration. As a brass player, having an understanding of how instruments work: harmonic series, air, breathing, dynamic control, flexibility and physical limitations is helpful when it comes to orchestration.
  5. Also: http://lmgtfy.com/?q=sibelius+7.5+big+time+signatures ;)
  6. Interesting ... I'm not sure, I agree, but, whatever. Continue on. (One note is a note. Two notes is an interval.)
  7. Honest question: how are you defining a "scale" ?
  8. I take issue with a whole bunch of things that have been said, but won't bother calling either of you out on them ;) Dave Brubeck's stuff may be "clean" and organized College jazz, but it it was the clever use of odd-meter and unorthodox rhythmic play that makes it interesting. Keeping it clean and accessible was challenging. Also, as a pioneer of the Cool school / West Coast / Third Stream jazz styles the relaxed & laid-backedness was a unique voice in jazz, and helped pave the way for a lot of experimentation in cross-cultural and genre-bending styles.
  9. People might try and make me feel bad about an opinion about music...doesn't necessarily make it "Bad."
  10. I'm not sold on it. :) How much of a "knowledge foundation" is enough to be allowed to form an opinion? OP @RequiemLord said he tried "again and again" to appreciate atonal music. He made sure "to listen some different works of atonal music to judge for [himself]". Is that not enough? Perhaps a B.Mus degree is the minimum requirement to form opinions about what music you dislike. How I FEEL about something is perfectly valid. I don't need to know it or understand it to know that, right now, this is something I like. What's not "holy" about that?! I might change my opinion as I start to explore something, I might grow to like something I initially dismissed; I may end up disliking something. A deeper understanding may help sway an opinion, but the organic instinct and emotion of how I feel about something isn't overly affected by how much I know about it. I don't like atonal music. I understand, to a very high level what's going on in it and the process behind it. I still don't have to like it. And I guess this is my point. There's a difference between how you FEEL about something, and being able to appreciate it in and of itself. I respect contemporary musics, and can see how/why others might like it...but it's not for me. *shrug*
  11. Fair enough! While it's not the "having" of an opinion that's bad...voicing that opinion publicly can certainly go badly. I'll rephrase ;) How can having an opinion about music ever be a bad thing?
  12. How can having an opinion ever be a bad thing?
  13. It's an interesting concept we're getting to here! The idea that wit, sarcasm, irony etc can be used musically actually makes sense to me. While it's true, there's never a true semiotic meaning found in music, using music to convey humour or sarcasm can be quite effective. For me, as an improvisor, humour and sarcasm and whatnot will often come out spontaneously, in reaction to things happening in the moment (like matching tones with a police siren, or taking a rhythmic motif from some dropped silverware). Sarcasm in the moment can come stylistically - repeating a particularly lame phrase or borrowing uncharacteristic styles from another soloist; playing purposefully "old-fashioned" over bebop changes, quoting "Stella" for the drunk guy who keeps yelling "Play Stella!". Compositionally, it's interesting when music is used ... humorously. Incorrectly. Sarcastically, ironically...whatever. For example (clearly showing my bias, here), Carla Bley's use of Patriotic themes, and National Anthems. See Excerpt 04, Spangled Banner Minor, and then Excerpt 02, National Anthem. (from a much larger work, full of slightly warped takes on patriotic American music. The first was "...written during the late seventies to express some disappointment or other with the United States government.". Which is pretty clear - the purposeful mangling and destruction of the theme. The second, less ironic and dark, but certainly with Carla's classic tongue-in-cheek humour. Things like "a fragment called Flags (which was just an inversion of the first eight bars of The Star Spangled Banner)" continue the concept of twisting something familiar, into something unique, and meaningful - in a new way. Anyway...whatever. If you want to hear the whole tunes, let me know. My brief thoughts and hasty excerpts don't do a major extended work like National Anthem justice ;) R
  14. Sort of. Lower notes will use up a lot more air. Higher notes will need more support, air speed and pressure, but a lot less air is actually being used.
  15. In jazz, anyways, it'll usually work like this: > = hit it hard, make it a bit fatter / full-value ^ = hit it hard, short and get out of the way. I feel like the latter might be what you're looking for.
  16. Pro Tip: Keep all your stuff backed up yourself; and keep backups of your backup. Don't rely on any one place to keep your work, let alone a site that's certainly not dedicated to being your storage locker. Just sayin'... any lost files should be a minor inconvenience at most.
  17. * uploads a piece called Music'); DROP TABLE uploads;--
  18. General questions: 1. When did you start studying or playing music? Offically, Grade 7 (in Canada, about 12 years old). Started then with recorder for a few months and then on to band instruments. Trombone for me from the get-go. Previously, had some choir and violin lessons, but little (if anything) stuck. 2. When did you start composing and why? Maybe a tiny bit in high school ... but nothing remotely serious. Started for real in college essentially as required. 3. How do you write your music (do you use notation software, hand written scores, or in sequencers such as DAW and samplers). 90% is hand written at a piano. I'll use a notation program exclusively for notation. Composers who had teachers (i.e. you had a composition professor or a private teacher who taught you composition as oppose to music teachers that allowed you to compose. I have to be very specific): 1. When did you begin taking composition lessons? University...probably not even until 2nd or 3rd year undergrad. 2. Where you required to present a portfolio or some kind of evidence of your composition prior to beginning your lessons? No, was a jazz performance program requirement. 3. Where did you take composition lessons (what university or what region of the world i.e. hometown or country) St. Francis Xavier University (Nova Scotia, Canada) and University of Toronto (Ontario, Canada) 4. What were your composition lessons like (how were they structured, what did you do in them, how long were they) 45mins - 1 hour long. Undergrad - weekly assignments (arrange Melody X for 5 horn jazz octet, write a "Messengers-style" 3 horn chart, reharmonize a standard, analysis of repertoire and traditions) Master's - Long term exploration of single things. (Multiple sessions working on an extended or multiple pieces ) 5. What was your composition teacher like (did they allow you to write what you want or did they give you assignments like “what in this style” or “write for this ensemble or instrumentation” etc.) Ensemble / instrumentation / style was generally somewhat dictated (got looser as you go - higher education got more freedom. Undergrad was a lot more structured. 6. Where your composition lessons a positive or negative experience? Positive, expecially as a means of exploring and understanding styles you wouldn't normally gravitate towards.
  19. I would (and sorta did for real) pick option "C". For me, total creative freedom to do what I want is more important than dealing with any of the baggage that likely comes along with most of the other options!
  20. Thanks! ... can't say I've posted anything in YEARS, but I appreciate you mentioning it ;)
  21. For me, I write music because I play music. Being a jazz instrumentalist, and having original music to perform are (to me) one and the same. My other skills in graphic design and web-development have bled into a full-time day job. These were borne out of my musical endeavours out of necessity - what independent jazz musician has the resources to hire someone to design gig posters, album covers and build websites! More important, perhaps, would be proper business & marketing skills. I've picked up a lot along the way, but do wish I had a better understanding of that side of things.
  22. I'm lifting & arranging a couple new med-large ensemble charts for upcoming shows. Tunes from Oliver Nelson's Blues and the Abstract Truth has been on my list of "tunes I wanna lift" for a while. I have a show coming up where Blunt Object is recreating Birth of the Cool, but since it's only, like, 40 minutes long, I need some more music to fill out two more sets. ;)
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