Jump to content

Search the Community

Showing results for tags 'composition'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Board
    • Announcements and Technical Problems
    • Young Composers Magazine
  • Upload Your Compositions for Analysis or Feedback
    • Orchestral and Large Ensemble
    • Chamber Music
    • Choral, Vocal
    • Piano Music, Solo Keyboard
    • Incidental Music and Soundtracks
    • Jazz, Band, Pop, Rock
    • Electronic
    • Incomplete Works; Writer's Block and Suggestions
  • Community
    • Masterclasses
    • Music Appreciation: Suggest Works or Articles
    • Composers' Headquarters
    • Repertoire
    • Performance
    • Advice and Techniques
  • Competitions and Collaboration
    • Competition Hall of Fame
    • Monthly Competitions
    • Collaborative Works
    • Challenges
    • External Competitions
  • Technological
    • Finale and Sibelius Help Desk
    • Sound Libraries
  • Rite of Spring analysis Club's Part 1: Augurs of Spring
  • Rite of Spring analysis Club's Part 1: Introduction
  • Rite of Spring analysis Club's Part 1: Ritual of Abduction
  • Rite of Spring analysis Club's Part 1: Spring Rounds
  • Rite of Spring analysis Club's Part 1: Ritual of the Rival Tribes
  • Rite of Spring analysis Club's Part 1: Procession of the Oldest and Wisest One
  • Rite of Spring analysis Club's Part 1: The Dancing Out of the Earth
  • Play this Passage's HOW IT WORKS
  • Play this Passage's WHO PLAYS WHICH INSTRUMENT(S)
  • Music and Media's Discuss and Collaborate on a Project
  • Young Composers Preludes and Fugues Project's Submit a piece
  • Young Composers Preludes and Fugues Project's Rules and Guidelines

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Biography


Location


Occupation


Interests


Favorite Composers


My Compositional Styles


Notation Software/Sequencers


Instruments Played

Found 134 results

  1. Hi all, I'm new here, this is my first post. I know nothing about making music, at all. I tried picking up a couple different instruments in my youth, but never stuck to it and lost interest. The thing is, I have tons of songs in my head that I really want to get out onto paper, computer, recording, something? I come up with them all the time, not even meaning to, but they get stuck in my head, and I want to get them out. The songs are complete in terms of music, just no lyrics there. Any advice on what to do here? I don't know how to compose or play any instruments so I could record, and even if I could play one instrument, for example the piano, I would have to learn many instruments in order to record an entire song. Is there some kind of software that will help me here? Thanks in advance.
  2. I'm sure that most of you know that writing out music is very time consuming, whether you're spending 20 minutes on drawing your staff neatly for your notes to sit on, or constantly erasing notes on Finale because your mouse slipped by a centimeter and placed a Snare Drum buzz roll instead of a rim shot. Over the years of composing marching percussion music, I've developed another method of composing music that may prove useful to composers with limited time. Because this is so different in comparison to the notation that has always been used throughout the history of music, this probably won't gain any popularity at all among percussion composers. But I guess this is worth a shot, since it works for me, and might work for you. So let me begin presenting to you what I call the "Alphabet Notation" for rhythm or percussion. This is what one measure of rest looks like: / [ . . . . ] [ . . . . ] [ . . . . ] [ . . . . ] / / = measure bar [] = one count . = 16th subdivision of a measure A note's value is determined by the number of "." subdivisions that follow it (A 1/16th note having no following subdivisions, an 1/8th note having one following subdivision, and a 1/4 note having 3). Keep in mind that one count can fit four 16th notes in it. The classic "Eights" warm-up would look like this: TD (4/4) / [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] / [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] / And so on... BD (4/4) / [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] [ 1 . 1 . ] / [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] [ 2 . 2 . ] / And so on... SD (4/4) / [ R . R . ] [ R . R . ] [ R . R . ] [ R . R . ] / [ L . L . ] [ L . L . ] [ L . L . ] [ L . L . ] / And so on... For tenor and bassline, notes are represented by numbers corresponding to drum size. s = Spock Drum 1 S = Spock Drum 2 5 = Bass 5 X = rimshot x = stick click r = on the rim For snareline: R/L = right or left hand for each note Rr/Ll = flam notes Rz/Lz = buzzed notes X = rimshot x = stick click r = on the rim Tremolo is tricky, but hear me out. As most of you know, a tremolo line divides the notes value by two and fills the original value with notes of the new value. (A 1/4 note with a tremolo sounds like two eight notes; an 1/8th note with a tremolo sounds like two 16th notes.) In alphabet notation, consider this and maintain the count's value of four 16th subdivisions. When adding tremolo lines in this notation, you need to cancel out the subdivisions that the sound of the tremolo note goes over in that count. For example: (4/4) / [ R . L . ] [ R . L . ] [ R, L, ] [ R, L, ] // The first two counts are normal. But on counts three and four, you can see that I didn't include the second and fourth subdivisions on that count. That's because with the "," tremolo line, the eight note's value doubles into the next subdivision. Applying this concept may become increasingly difficult with drags on 16th notes, thus creating 32nd notes. To put it somewhat simple, you eliminate the "." subdivision that is played over with the preceding tremolo note. Two tremolo lines indicate a double stroke roll, which is basically 32nd notes filling the value of the original note. When placing two tremolo lines on a "[ R . . . ]" quarter note, you would write [ R,, ] since the entire count is played through, leaving no room for "." subdivisions. When placing two tremolo lines on "[ R . R .]" one of two 1/8th notes, you would write [R,, R . ] since the roll fills the 1/8th note value, leaving no room for the subdivision after the "R." Moving on, triplet figures indicated by underlining. For example, (4/4) / [ R L R L R L ] [ R . R L L ] [[ R Rl Rl ]] / [ R L R ] [ L R L ] [ R . . . ] [ R L L ] / [ R . . . ] [ . . . . ] [ . . . . ] [ . . . . ] // **Envision the bracket topped with a "3" that indicates a triplet figure in traditional notation.** The first count in the first measure presents a sextuplet figure, while the second count presents an regular 1/8th note followed by a triplet figure of 1/8th notes. For figures that last more than one count, you can combine the count brackets like I did in the first measure. It presents a triplet figure of quarter notes in the third and fourth counts. And in the second measure, the first, second and fourth counts present 1/8th note triplet figures, with a regular quarter note on the third count. Time signature in boldface preceding the first measure. Dynamics can be placed before the count in which it should be expressed in italics or cursive. Crescendos/Decrescendos between counts. For example: TD (4/4) / f [ 1 . 2 2 ] [ 3 . 4 . ] [ 3, 2, ] [ 1, S . ] / [ 1 1 1, ] > [ 2 2 2, ] > [ 3 3 3, ] > [ 4 4 4, ] > / p [ 4 . 4 4 ] [ . 4 4 . ] [ 4 . . . ] [ . . . . ] // >/< = crescendo or decrescendo And Accents indicated by bold faced notes. I'm sure most of you understand that one count consists of 4 16th subdivisions. That's basically what this notation is based on. There are no rests, you're pretty much looking at the subdivisions for each count and plugging in the notes from there. I believe this can make music translatable through keyboard without needing a special program. And when writing music by hand, this can safe the time-consuming preparations, like drawing the 5-line staff. And this is new, so of course, there's tons of room for evolution if Alphabet Notation turns out useful to anyone else.
  3. It's been a while since I've been on here. I have put dreams of writing a symphony off until I can manage a small-scale piece (solo piano, for instance), and spent the month of June writing a little bit of something (new) each day. Got through thirty days and had some good ideas in the mix, but the largest problem I had was developing them beyond the 8-10 bars that I'd constructed. That's another issue. I wrote this and somewhat unintentionally expressed the train of thought of an entire day at work (between meetings) despite my efforts to condense it. In the interest of time, I will post the actual question at the end of said train here, and again at the end of my actual post: Based on what factors does one determine whether it is a work of genius, a flop, an acquired taste, or just the housecat prancing around on the Steinway in the living room? An extension of that question, and I suppose the real heart of my issue is, based upon what can I critique the works that I write using this method? What will be my goal in expression if it is not tonal? And now for how I got there. Also, I promise this post about 'atonal' or 'serial' or 'twelve-tone' music or whatever you want to call it is not to troll... but I can see how it may seem that way (or seem like a very amateur question, which not be out of character). In that regard, I recently started playing around with writing out some twelve-tone matrices. The issue I was having with developing or broadening or expanding motivic material lies partly with my imagination, but the root of that problem is probably more in my lack of music theory knowledge (i.e. my ability to use and manipulate the rules of harmony, voicing, etc.). I've studied entirely on my own and have a very good general understanding of (the most basic) harmony, the ideas and concept and treatment of sonata form, and the like, but to get in and start writing music, voicing chords, etc. proves very difficult for me, so it's slow going and very rudimentary. Back to Schoenberg and his twelve tones. In composing in this manner, one of the decisions left to a composer is removed, or at least greatly limited. Generally speaking (incredibly vaguely), a composer deals with a few things: pitch duration orchestration tempo dynamic harmonization intonation or attack Composing based on a twelve-tone row greatly limits if not eliminates the variables of pitch and harmony (obviously hexachords and vertical use of the series are not out of the question, but not with the freedom of choosing to use a minor/major/diminished/ninth chord, etc.), so the others play a much greater role in the style/interpretation feel of the piece. I am realizing that just from my writing out of the matrix. Just to clarify, I'm not talking about integral/total/multiple serialism like in Boulez's piano sonatas, for instance. Just the pitches and their sequences. So my question, ultimately, is this: in the tonal scheme, with tonics and dominants and tonal centers, it is very easy for even a total beginner to hear a piece like a Chopin nocturne or a Mozart sonata and 'understand' it emotionally to some degree or other (happy, sad, peaceful, etc.) because of its use of tonal expression. Even late Scriabin pieces, while highly chromatic, still make use of tonality to express emotion and feeling. People will rate the quality of the music, whether it is 'good' or 'bad', based on their ability to understand it, which as Milton Babbitt has pointed out, only happens in music and politics. My question then, is this (I did say that earlier) : since the average human innately understands the pentatonic scale and has some foundation for understanding "good" use of harmonies to some degree, he can identify with "good" music, or music that adheres to the rules of harmony (more advanced, even to the point of identifying and appreciating key changes, and modulations and their relationships to the tonic). Not being able to hear immediately the relationships between notes in a twelve tone series once we get to the inversion and retrograde, etc. how is one to distinguish "good" serial music from "bad"? I can listen to Schoenberg's op. 11 with some degree of appreciation, but it's a stretch. I have absolutely zero comprehension for Boulez's sonatas or anything by Babbitt, though. Based on what factors does one determine whether it is a work of genius, a flop, an acquired taste, a work with potential, or just the housecat prancing around on the Steinway in the living room? An extension of that question, and I suppose the real heart of my issue is, based upon what can I critique the works that I write using this method? What will be my goal in expression if it is not tonal? I suppose that is a subjective and individual question, but it still seems one worth asking. Thanks in advance for thoughts and ideas.
  4. I do it out of necessity, but it is horrible. And embarrassing, considering my father was/is a horn player. Anyway, I write mostly for natural horn as I prefer its sound to that of modern horns. I also score for the horn as though I am an 18th century composer. If the work is in A Major, than the Horns are in A. If the key is E-flat Major, the horns are in E-flat. If G, than they are in G, and so on and so forth. (As though they use crooks.) However, there are a plethora of issues that arise: What notes specifically can it play- what is the harmonic series? That is, what pitches and/or scale degrees are actually playable on the horn of Mozart's and Beethoven's day? Also, what is the range- how low can it go. I've seen bass clef notation in Beethoven (the first bars of the 7th symphony for example) and Wagner (to my knowledge he wrote for natural horns- most scores of his operas give horns more keys other than "F") This is driving me insane and has really sapped my desire to write lately as I'm not entirely sure I like what I have for horns in some of my works. I suppose I could scrap it and just boot the horns out of my works (which I'm not OK with, but I'm even less OK with not writing for a few days). I want to go into filling in their parts with clear knowledge of what they can and cannot do. Disclaimer: I REFUSE to write for valved horns unless the work itself requires it in my estimation. But I will always prefer the sound of the natural horn, particularly in works where the winds and strings carry the majority of the work. What can I say, I am not a huge fan of the brass section.
  5. Is it what drives the composition of every piece? Should it be what drives the composition of every piece? Is it like that with you? Is it like that with most composers? Or are there composers who do not mind if recognition were to never come and compose regardless?
  6. Electronic Music Composition Contest: Compose a piece in one of the following experimental genres: Acousmatic, Audio art, Electroacoustic, Glitch, Intelligent Dance Music, Microsound, Noise, Turntable art, or Video music. Maximum length: 10 minutes. Accepted file types: MP3 or MP4 only. $25 entry fee includes a one-year subscription to Musicworks magazine; $5 each additional entry (unlimited). First Prize: $500 cash, a composer profile in Musicworks magazine and on musicworks.ca AND your composition released on the Musicworks companion CD Second Prize: $200 cash AND a composer profile on musicworks.ca Third Prize: $100 cash AND a composer profile on musicworks.ca Also check out the “Sonic Geography” Writing Contest: Describe how sound shapes your experience in 500 words. Echoes in a Lisbon square, waterdrops from an Iceland glacier, birds in a Buenos Aires barrio, or the noise of your own neighbourhood—these are just some of the sound that have inspired contributors to our regular “Sonic Geography” column. The first-prize-winning essay will be published in our regular column space. Accepted file types: PDF only. 2014 Contest prize details, eligibility and assessment criteria, and entry forms can be found at: https://www.musicworks.ca/contest
  7. Hey guys :D I am new here and I have a question! What is the fastest way to write music? Do you write it with your hand and then copy it on the computer? Or do you instantly write it on a special programme on the computer? Or do you use tablets? I am kind of new here and I was wondering wether you could help me. (at the moment I use Finale, but it takes so long to enter note by note with your mouse) Any kind of help is appreciated! Thank you :D
  8. Hello, I'm a beginning music composition student at Washington State University, and there's a question that has been increasingly interesting me: What defines a "good" piece? I've been fascinated with theory, partly because I'm interested in trying to determine this answer, but so far it has generally eluded me. Why, for example, are Bartok's string quartets valued over Schubert's? Or why is Rite of Spring preferred over Firebird? I'm currently trying to write a piece for clarinet, but I'm kind of stuck because I can't decide when something I write is "good" or not. Sometimes there are notions that some pieces narrowly miss greatness because they don't develop their ideas enough, but what determines if an idea has been adequately developed? What are the correct ways to "develop" an idea? When are you developing an idea, and when are you actually introducing a new idea? I feel like these are some basic elements of composition theory, but I don't have a very firm grasp of them. I'd love to hear any of your thoughts on the matter. Thanks!
  9. General Information Bachelor of Music undergraduates from any Australian tertiary institution are invited to enter the inaugural Duo Entendre Composition Competition. Applicants will be required to submit a composition of up to 5 minutes duration for the instrumentation of horn and piano*. The work can be of any style providing that the score is legibly notated with computer software. Electronics and prepared piano can be utilised providing clear instructions are given. *Stuart & Sons 102 key Concert Grand - see Stuart and Sons website for specifications. Prize The winning composer will receive a $1000 prize. A concert program including the winning composition will be devised from the entered works. This free concert will take place on Sunday October 5, 2014 at 3pm in the Harold Lobb Concert Hall, Newcastle Conservatorium. The winner will be announced at this concert. Full details and entry form available from our website: http://www.duoentendre.com/competition.html
  10. Two days ago I participated in a Photo Marathon in which we had 12 hours, 12 themes, and had to take 12 photos. It was a pretty exciting challenge. So the idea occurred to me that we might organize a "Composition Marathon" on YC. To do it, we would have to adapt the idea. So I am starting this thread whereby we can collectively brainstorm to refine the idea and eventually hold the marathon. Here are my own suggestions for the adaptation of the photo marathon idea to a "composition marathon". These ideas are suggested as a starting point. Feel free to suggest your improvements or modifications. 1) 12 hours: Since this will be an online event with a global audience of composers, I suggest that we change this to 24 hours in order to take into account the time differences between countries (which could mean that if we made it only 12 hours, several countries' composer's might happen to be asleep during most of those hours). We can agree on the starting time and announce it several days before, doing a countdown to the day and hour (with no details of "themes" announced yet) while asking everyone to register. 2) 12 themes: These could be adapted to mean restrictions on the pieces to be composed. These "restrictions" could mean any of the following (feel free to add your suggestions): a) Limited number of bars to compose in. We could, for example, specify 10-bar miniatures as one of the "themes", as Christian Perrotta did in a successful challenge some time ago. We could go even shorter and ask for 5-bar miniatures, for another of the "themes". b) Related to the above, we can specify the form of the pieces. Possible forms I would suggest would be: free form, Soliloquy, or sententia (Latin for sentence, a form I have originated and composed several sets of pieces in). c) We can supply different musical themes to compose pieces on. d) We can specify the key signatures of the pieces to be composed. e) We can specify the time signatures of the pieces to be composed. f) We can specify the instruments for which to compose pieces. 3) 12 photos/pieces: As regards the number (12) of themes or restrictions, we could once again adapt this to composition in one of the following ways: a) 12 variations on one theme b) 12 sententiae c) 12 soliloquies d) Any of the above restrictions (see No. 2, a-f) x 12 (i. e. 12 x 5-bar minatures, or 12 5-bar miniatures for different instruments, 12 pieces in 12 different provided themes, 12 sententiae/soliloquies/etc. for 12 different instruments, 12 5-bar miniatures in 12 different key signatures, 12 variations on a theme for 12 different instruments, etc). Waiting to hear your input and ideas on how this composition marathon can best be organized and held. It could become a yearly event and would serve to generate increased interest in composition, excitement for young and beginning composers, and challenge and motivate all of us to improve as composers.
  11. Where do you think does a personal style come from? What are the important factors that determine the emergence of an original personal style? Does it happen by itself, or does one consciously nurture and develop a personal style? Ideally speaking, would it be an unconscious or a conscious process/action? What about in practice?
  12. Hey all, Out of curiosity, how do you compose? What is your process? Do you sit down at the keyboard, or the computer, at the same time every day with a cup of coffee and work diligently until something good comes out of it? Or does inspiration strike when you least expect it, and then you rush for a piece of paper before you forget that brilliant idea? Do you start with chord progressions? Work phrase by phrase, one part at a time? Write the entire melody, and then go back and fill in the other parts? How do you work? (I work a bit every day, phrase by phrase, and part by part. Then go back and read through each part while playing the whole thing, and be sure that each part makes intuitive sense from a sight reading perspective, and adjust chords if it doesn't, add dynamics, accents, etc, let it sit for a few days to clear my head, and then come back with fresh ears for a last check. At that point I'm heartily sick of the piece, so I keep everyone's comments in mind for the NEXT piece, but don't usually do much post-feedback editing.)
  13. Here are some that I would like to share to start this thread: 1. "Shame on the blind men who took Beethoven for a deaf man!" Wilhelm von Lenz (1809 - 83) 2. "They want me to compose in a different way; I could, but I must not." Anton Bruckner (1824-96) 3. "This boy will cause us all to be forgotten." German composer Johann Adolf Hasse (1699-1783), about the 15-year old Mozart. My comments: Concerning the third quotation: What a prophetic thing to say! Concerning the second: Genius recognizes itself! Concerning the first: Talk about metaphoric blindness and deafness!
  14. Why do we avoid the augmented second between 6 and 7 in harmonic minor in voice leading? I always get called on this in my compositions, but I use that interval on purpose. It sounds so expressive and pulls so strongly to tonic, why avoid it? It's not like singers can't sing it now. Contemporary singers should find an augmented second very easy to sing. It isn't hard on any instrument. So why? Why do we avoid the augmented second in voice leading?
  15. With some insight into your compositional process if possible.
  16. Hi All, I have trouble with writing larger/longer pieces of music. I can come up with melodies or "riffs", but I'm not sure how to make a piece "coherent" and not simply a string of ideas, or a "song", or ABA form. To help me understand, I would like to start with a very simple and short example, prelude in C by Bach, BWv924 (see attached). Why is this piece "coherent"? What is the structure or form of this piece? Thanks for any help IMSLP222728-PMLP180599-Bach_Prelude_BWV924_Cmaj.pdf
  17. The Geneva International Music Competition (Concours de Genève) is organizing once again this year a Composition Prize : - Members of the Jury : Ivan Fedele (Chairman), Toshio Hosokawa, Magnus Lindberg, Philipope Manoury, Isabel Mundry - Subject of the Competition : work for flute solo and small ensemble of five instruments - Registration until March 31st 2013 For more information (rules, registration, etc...) check out : https://www.concoursgeneve.ch/index.php/en/composition-prize/2013/presentation.html
  18. 2012-13 New-Music Consortium International Call for Scores Facebook page: www.Facebook.com/USFNewMusicConsortium. Application Deadline: 2013-01-15 The New-Music Consortium, University of South Florida School of Music’s student-run contemporary music organization, is pleased to announce its first ever New-Music Consortium International Call for Scores. Two works will be selected, with one winner each in the categories of acoustic and electronic composition. Selected compositions will be presented at concerts during the NMC’s Spring New-Music Concert, taking place on April 6, 2013. Selected composers will not receive a cash award and will be expected to provide professional performance materials by March 1st. Although a stipend for travel and lodging will not be provided, the winning composers are encouraged (but not required) to attend the performances. If the composers choose to attend the concert, the NMC will assist with travel arrangements to and from the airport in Tampa and provide lodging discounts through USF where possible. Composers of all nationalities under the age of 35 are encouraged to apply. There is no entry fee, and works may have been previously performed (further stipulations below). Composers who have graduated from the University of South Florida after the year 2007 are not eligible to apply. A panel consisting of members of the New-Music Consortium will evaluate the pieces and choose the winning entries. USF Composition Professor Baljinder Sekhon will facilitate the competition. All applications must be completed and received by January 15, 2013. The winning entries will be announced by February 15, 2013. RULES AND GUIDELINES Individuals may submit one work to each category. ACOUSTIC: The submitted work should be between 5-15 minutes in duration. The number of performers must be between 3-9 players. The instrumentation may be a subset of the following instruments. Works that require a conductor are acceptable. (2) Flutes/Piccolos Oboe/English Horn (2) Clarinets (Bb, Eb, or Bass Clarinet) Bassoon/Contrabassoon (2) Saxes (Alto, Tenor, and Bari) Horn (2) Trumpets (2) Trombones Bass Trombone Tuba (2) Percussion Piano (2) Violins Viola Cello Double Bass ELECTRONIC: The submitted work should be between 5-15 minutes in duration. Submissions of electronic works may be composed for audio playback up to a 5.1 speaker array. Submissions may be composed for any combination of audio playback, live electronics, and up to 4 performers (instrumentation should be selected from the list under ACOUSTIC guidelines). If necessary, a score, graphic representation, or other sufficient performance instructions must be included in the submission. OTHER: ~Works of any style, aesthetic, and notation will be accepted. ~The work must not exceed fifteen minutes in duration. ~The work may also call for an “unusual” (e.g. folk, traditional, rare, Partch) instrument. In such a case, the composer must provide both the performer and the unusual instrument for all rehearsals and the performance of the piece. NMC cannot assume any expenses for this performer or instrument (e.g. travel, accommodation, per diem, insurance). ~Only one entry per composer for each category (acoustic/electronic) will be accepted. ~A jointly written work will be considered a single entry. ~Submissions may have been performed previously, but pieces that have been played and/or recorded by a professional ensemble should not be submitted. ~No information that indicates or suggests the name or affiliation of the composer can appear anywhere on the entry work score or mp3. SUBMISSION PROCESS The submission process is entirely online. Please follow the directions below to ensure that your application is successfully received. ACOUSTIC: 1) Prepare an anonymous PDF score (TITLE.pdf) and an anonymous MP3 recording (TITLE.mp3) of your work. All indications of the composer’s identity, affiliation, or performing ensemble should be removed. 2) Include a form with the composer’s name, contact information, and one paragraph biography. (Biographies will be used when announcing the winning composer.) 3) Please send the above items as attachments to NMCSubmissions@gmail.com. 4) Please make the subject of your email “Last Name, First Name - Title of Piece.” It is imperative that the total size of these attachments be no larger than 20 MB. 5) Submissions will be handled by a third party. For questions and information, please write to: BSekhon@usf.edu. ELECTRONIC: 1) Prepare an anonymous PDF score (TITLE.pdf) if applicable, and an anonymous mp3 (TITLE.mp3) of your work. All indications of the composer’s identity, affiliation, or performing ensemble should be removed. 2) Include a form with the composer’s name, contact information, and one paragraph biography. (Biographies will be used when announcing the winning composer.) 3) Also include a tech sheet listing all hardware and software required, as well as a routing diagram. 4) Please send the above items as attachments to NMCSubmissions@gmail.com. 5) Please make the subject of your email “Last Name, First Name - Title of Piece.” It is imperative that the total size of these attachments be no larger than 20 MB. 6) Submissions will be handled by a third party. For questions and information, please write to: BSekhon@usf.edu. PUBLISHED DATE: 14 Dec 2012
  19. Hello! I'm interested in beginning to compose, especially in modern styles (a la Ligeti). However, my music theory knowledge is minimal... I can read notes and that's about it. (Except sometimes when a note has more than a couple of ledger lines :veryunsure:) Anyway, as I said, I'm into contemporary music... Ligeti, Bartok, and Yun Isang are among my favorite composers. I love listening to their music, but I usually don't get a whole lot out of it since I don't understand the concepts being demonstrated. That being said, can anyone recommend to me a good place to start (e.g. textbook, website) where I could learn music theory? Everything that I've found just explains reading music and then stops. Thanks! P.S. I'm new here... sorry if I'm putting this in the wrong spot.
  20. How are the two related? Does one's personal philosophy affect one's composing? Does it affect the content and the form of the music one composes? How? In more general terms, what is the relationship of music and philosophy? Is the philosophy of the time reflected in the music of a particular epoch? And does the music of a particular time in history affect the philosophical trends of that period? How? Any thoughts and/or examples?
  21. Hi, Mapping Tonal Harmony Pro for iPad will soon be available at the iTunes App Store. We are looking for teachers and musicians interested in reviewing the app and give us some feedback (we only get 50 redeems codes for this purpose). http://mdecks.com/mapharmony.html Here are three tutorials so you can see how the app works. Tutorial I Tutorial II Tutorial III It is going to be part of a seven workbook collection. The volumes in the Mapping Tonal Harmony collection have been envisioned as auxiliary material in the study of Tonal Harmony. The main objective of these books is to provide the student, teachers, composers and/or songwriters with a tool that will aid them in hearing, analyzing, foreseeing and composing harmonic progressions without struggle, in all keys alike. Since I know all you guys are interested in topics like this, I thought was a good idea to share this new concept and see what you might think. If you'd like to be part of the reviewer's list please let us know. Thanks.
  22. i dont know what else i can add to my song any ideas on what i can i add to make it look better, i have no knowledge of music whatsover, i compose with my heart not knowledge :nod: http://soundcloud.com/vnhrmth/sad-and-mysterious violin.mp3
  23. Hi there, glad I finally found a forum that has soundtrack music genre composers. I've always had problems mixing and mastering as I do not really understand EQ and compression (I believe these are used to master a track). Anyways, I will start off with the easy question. I'm using Fruity Loops Studio for my compositions and my main plugins are Stormdrum, Nexus and Miroslav Philharmonik. My first question is with regards to a track I just finished. I'm hoping it can be a reference for future work in terms of mixing/mastering. In the track, I use piano, drums, cello, violin, cello stacc and choir. What I want to know is which is suppose to be louder and lower, for instance, should the cello be lower in volume and violin louder, etc. Is there like a general formula for it? I know there is one for beat making as that's all I'm able to find on youtube. My second question is with mastering. I know it is a very subjective thing, but since I don't know the basics, is there any good articles or material that are easy to read for someone without knowledge on music theory? Any advice would be appreciated.
  24. How often do you revise a piece after you think you have completed it? How thoroughly do you revise it? What do you think does a composer's frequency of revision of pieces say about them? What do you think does the fact of needing to revise a piece say about it? Do you think that it is the mark of a great piece that it needs to be constantly revised - or that of a lesser one? I think the need to revise a piece might mean that one is developing as a composer, that the previous degree of care and consideration taken in judging a piece complete is no longer definitive or sufficient. It might also mean a piece is problematic, or that one was too quick to judge it complete. Alternatively, it might mean that the piece was subtle, seminal and/or full of possibilities and unseen potential that one failed to see or appreciate, let alone fully develop, at the time that the decision/judgement of completeness was taken.
×
×
  • Create New...