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Found 127 results

  1. What is its role for you as a composer? Do you disregard it, listen to it and find it beneficial, or do you even depend on it to guide you in what to compose and how to compose?
  2. Please take the question in a broad sense. I am not just asking why you yourself compose. Try to be philosophical and consider for a moment what might the role and function of musical composition be for humanity, what its goal or purpose could be. Is it the same as the goal of all art or different from that of other arts? What exactly is happening in the creation of a piece of music? To make the question even broader, one might ask "what is the goal of music?"
  3. Is Formal Training In Composition Necessary At One Point Or Can One Find One's Way Just Through Practice Composing And Studying Pieces? What do you think? I have scarcely gotten any training and compose as an amateur. I am wondering how far I can go like this. Will I find my way to composing even symphonies, or would that necessitate some formal training? I know that Elgar became a composer through self-study. Would training generate symphonic ideas where none occurred before, or improve one's original ideas?
  4. On some positive stuff, what is everyone working on? I'm starting on my last two movements of my symphony. It's very programmatic based on scriptures from the Old Testament and I'm learning Dvorak 8th!
  5. I think that many a piece of mine could have benefited from further revision had I not decided too soon that it was finished. Now I am becoming more careful before declaring a piece finished. So how and when do you know (or decide) that a piece you are working on is finished?
  6. Do you agree or disagree with the above statement? To agree would mean that no matter how much a person lacking the gift of composition studied, they would never get good at composition just because they lack the gift; and that a person who possesses the gift of composition would display that gift no matter the amount of instruction or study he/she has had in composition. To disagree, on the other hand would mean that a mediocre talent or even one who patently lacks the gift of composition could get good at it thanks to instruction and study; and that a great talent might be totally wasted because of a lack of the proper instruction and study.
  7. I wonder why each composer feels compelled to compose, and would like to hear each of your reasons for composing. For me it might be an inner need springing from my subconscious, a need to probably order and harmonize experience. And composition for me has never been an intentional act or deliberate act. I have early on felt compelled to respond in my own music to the music I heard. But presently, it is more an inner inspiration that leads me to compose. And this inspiration is mostly something whose existence is not in my hands. It might happen that I am no longer inspired after today. But still, my present period of compositional activity (in the past 6 months) coincided with getting a new software for composition (Sibelius 6) whereupon I experienced an increase in compositional activity and output, composing 37 short pieces in that 6-month period. So, from this experience of mine I can also infer that composition can be a response to external stimulation (in my case a new software program). For others (and for me also) it might be other types of stimulation that lead to compositional activity. What might these other types of stimulation be? I think new experiences, like meeting new people, doing new things could be examples of such stimulation. For example, after attending a religious conference, I wrote a short song as a march for the group. Waiting to hear your reasons for composing.
  8. I have what might be a laughably simple question but does software aiding the process of music composition exist? I'm talking about something similar to screenplay or novel writing software but for music. So I might plug in something like "Sonata" and it would offer various templates for sonata forms, prod me to modulate in the appropriate places etc. Does Sibelius do anything like this? Thanks. Wil
  9. All, I am writing to let you know about a project that I have created which serves to promote and support new compositions for musical theater in a unique way. I ask that you take a look and offer any comments, advice, or feedback that you can. It would be extremely appreciated. I am especially interested in any help in spreading my message and am eager to find original articles, music, or ideas to be shared should you know of any. www.musicalrebirth.com All my best, Joe Hargis Creator, Musical Rebirth Project
  10. Meistersingers is proud to present their 6th Annual Choral Composition Competition. Also, we are extremely excited to release this announcement under the new name, the Knapp Award. Named in honor of Jim and Sally Knapp, ardent supporters of Meistersingers, their commitment will ensure this competition will continue for many years to come. In the 6th year of its existence this competition has received over 400 submissions, more than half created specifically for Meistersingers. With $5000 in prize money awarded to date, to both established and upcoming composers, Meistersingers is committed to fostering the future of the choral art. Please visit www.meistersingers.org for more information and the application Postmark Deadline: March 1, 2012 Prize: *$1,000.00 and at least two performances by Meistersingers *Archival recording for winner’s use toward publishing *Possible commercial recording by Meistersingers There is a $25 entry fee Submission Guidelines: Complete Competition Submission Form (can be downloaded from www.meistersingers.org) Original Composition for 4-8 part SATB a cappella choir (further divisi possible/range is not an issue) Texts focusing on light or dark themes are preferred. 4-8 minutes long Must be a world premiere performance (rehearsal read-throughs are acceptable) Anonymous Submission - Remove all names (except poet, if necessary) and identifying marks; - Provide a sealed envelope containing your name, address, email, the title and performance history of the piece (if applicable), and phone number. Submit a legible, photo-copy ready, score with piano reduction for rehearsal purposes - including a recording (MIDI, piano, etc.) is strongly encouraged but not required. If text is not in public domain, composer is responsible for including written permission to use it Selection Process: The Music Director/Conductor, Brian Dehn, shall review all scores received. A Selection Committee, consisting of members chosen by the Music Director/Conductor and Board, shall review many of the scores received. The decision of the Music Director/Conductor and Selection Committee will be final. Winning Composer will be notified by April 2, 2012 Other Items of Interest: Texts that focus on dark/light/day/night are preferred as our summer concert is centered on those themes. The winning composition is scheduled to be performed in May of 2012 in the Southern California area. Meistersingers encourages the composer’s attendance and cooperation in media publicity and press coverage. The winning composer must provide a final performance score by April 6, 2012. Meistersingers shall make 35 copies for the chorus, director, and rehearsal accompanist. There are no restrictions according to race, sex, or age. A composer may submit more than one piece. Meistersingers reserves the right not to select a winning composition and/or award a prize. A brief description of Meistersingers, including Mission Statement and type of literature performed, can be found on their website: www.meistersingers.org Send all Submissions, along with form to: Meistersingers, Inc. Knapp Award 8941 Atlanta Avenue #187 Huntington Beach, CA 92646 For further information, visit the website or email bdehn@meistersingers.org Application.pdf Knapp info.pdf
  11. How does one self-gauge his/her growth as a composer?
  12. .I can't seem to upload this file to "Upload Music" so I'll just put it here This piano trio is from a collection of works called "Tales from Outer Suburbia" based on stories of the same name by the Australian author Shaun Tan. The story of this piece is about a man whose house catches on fire after he beats his dog to death. https://docs.google.com/a/vcass.vic.edu.au/viewer?a=v&pid=explorer&srcid=0B1Lo3cSoUa_4NjVhZjQ4OGUtMGFhNC00NjRlLWJlYWUtNzgyYjE4ZjYyNjRi&hl=en_US
  13. So we've talked about jobs and we've talked about school? What else is there? Networking! Be nice to people. Go to concerts. Trust me, if they are in this business, you'll need them (AND I DO MEAN TRUST ME) LISTEN/BE HUMBLE This right here is kryptonite to most people. When people critique your work, listen to what they have to say. It might actually help. ASK for help. You are not Mozart. And even if you are, he still took lessons. It is well documented how other composers listened and critique each others work. TYPESETTING (sigh) I sit here in reminiscing of hearing gorgeous musician that was an eyesore. 1) Make sure your parts are correct. 2) "Just because you heard it that way" doesn't mean you have to write it that way. Yeah, Grainger did it, but most people realize how a pain that movement of Lincolnshire Posy is. 4+ 3 + 2+5+7 + 3= six bars of 4/4. You don't have to be difficult. 3) Make sure your parts are correct 4) Realize that a lot of times you'll only get one rehearsal 5) Make sure your parts are correct 6) Make sure your parts are correct 7) In case you forgot, make sure your parts are correct Contests Contest are fun but I strongly disagree writing for a competition. The resentment that might come later is not worth it (Make sure your parts are correct) Marketing Get a website and market yourself. Have music ready to be read online and for listening (Make sure your parts are correct.) Have an email address that's for branding (i.e. chad@sirwickentertainment.com.) Have a calender of your performances ready. (Make sure your parts are correct) Hope this helps!! Much Love and Musically Yours, Chad "Sir Wick" Hughes PS: I'm off to make sure my parts are correct.
  14. Is anyone entering the BBC Young Composer's Competition for 2012. For those of you who don't know, the BBC YCC is a free entry competition for 12-18 year olds. The entries are judged by top composers and the winners are perfomed at the BBC Proms! Also, all highly commended and winning entries are recorded with a live orchestra, and there are no limitations as to what instruments to compose for. Here's a link, for the website, unfortunately, the BBC haven't updated since 2011, so all information is 'old', but stay tuned :) http://www.bbc.co.uk/proms/2010/youngcomposers/introduction11.shtml P.S, if anyone finds out anymore information about the competition, please let us know. Thanks. -Phil
  15. link del post en taringa: http://www.taringa.n...237/Chopin.html Federico Chopin http://2.bp.blogspot...1600/Chopin.png Uno de los mejores compositores lejos... Nadie puede compararse en tecnica compositiva, pero sobre todo en esa cosa muy dificil de explicar, esa pasion en cada compás. Hola, hace varios meses vengo trabajando en un projecto que empeze yo mismo, yo tengo 15 años, y quiero ser compositor. Toco el piano, y estoy aprendiendo música, para a los 18 ir a Polonia a estudiar composicion en el conservatorio. Yo tambien compongo , pero no puedo decir que soy chopin, todavia me falta aprender bastante. Para la poca gente que le interesa la música de este genio, aqui les dejo una ayuda para componer en su estilo. Por ultimo una pequeña reflexión personal: Es muy facil realizar un cálculo matemático, pero crear un buen compás de música es el mayor desafio que puede existir. Estilo musical de Chopin 1) El secreto de la composición es siempre variar las ideas y usar toda variante hasta que quede la frase deseada. Por ejemplo si estamos “trabados” en alguna frase y no sabemos como seguir podemos, tomar un papel y escribir distintas maneras para seguir, todas diferentes, y elegir la que mejor quede, este modo se llama descarte. 2) Se pueden crear todos los recursos compositivos imaginables. Esto quiere decir que no siempre la musica debe ser todo el tiempo “igual” , por ejemplo, en la clave de sol, la melodia, y en la clave de fa, primero la nota del bajo y luego el acorde. Sino que hay millones de formas infinitas de escribir la musica, para que no sea tediosa, un ejemplo muy claro seria el siguiente: Rondo op 1 , Frederic Chopin: http://a8.sphotos.ak...1_5082526_n.jpg En los primeros cuatro compases, marcados en rojo , hay una forma de expresar la melodia totalmente distinta a la parte azul. En la roja se muestra por octavas, Y en la azul se muestra como anteriormente dije, melodia y bajo/acorde. Luego esto CAMBIARÁ para que no sea tan tedioso escuchar toda la pieza igual: http://a1.sphotos.ak...6_6782487_n.jpg La parte azul se mantiene hasta que en un momento vuelve a la forma roja, parecida a la del comienzo pero una Melodia distinta. Es cuando entonces llega la parte verde. Cambia totalmente la forma de la melodia y el bajo, se puede apreciar que es totalmente distinta a las dos anteriores. Eso es lo que Chopin buscaba, que la pieza no sea siempre igual o tediosa y para esto hay un monton mas de recursos, porque como se puede apreciar sigue estando en el mismo tono. Luego si cambiara de tono, pero estando en el mismo hay muchos recursos que uno puede INVENTAR, para seguir la obra. 3) El fraseo y la “cantabilidad” son los elementos principales y característicos en la música de Chopin. Quiere decir que la melodía debe poder ser cantada. Otro de los aspectos fundamentales es el empleo de un rubato muy característico de este compositor: el rubato reservado para la melodía; una melodía entendida como foco de atención, que se desarrolla con independencia respecto al acompañamiento. 4) En Chopin es particular el salto de séptima. Hacia arriba o abajo. Pero nunca resuelve este en la tónica sino que genera una frase. Este salto puede ser de 7 pero de dos octavas como en el último ejemplo y tambien de novena, etc. http://a5.sphotos.ak...0_1862014_n.jpg Nocturno en sol menor. Fa mayor resuelve en sib. http://a1.sphotos.ak...2_1654454_n.jpg http://a7.sphotos.ak...3_7538395_n.jpg 5) También los cromatismos. Antes de regresar a la tónica en el quinto grado en este ejemplo: http://a7.sphotos.ak...8_4107254_n.jpg Y en el juego en una nota con otras cercanas. http://a2.sphotos.ak...1_1772111_n.jpg 6) También repite notas rápidamente para acentuar. Esto es característico en su estilo. http://a6.sphotos.ak...3_4717794_n.jpg 7) A veces cuando esta en un quinto grado puede repetir la frase dos veces. Una terminando en un tono mayor y seguido de eso una terminando en un tono menor. 8) Chopin siempre agrega notas de paso para que el sonido no quede tan cuadrado. Es muy importante para la melodia el uso de notas de paso http://a7.sphotos.ak...4_1190061_n.jpg 9) El estilo de Chopin presenta muchas células de este tipo, Son muy caracteristicas del folclora polaco, de la mazurka etc: http://a5.sphotos.ak...7_4299137_n.jpg 10) Chopin generalmente no va demasiado grave en la armonía. No mas de 2 octavas abajo del do central pero hay momentos en que deja pasar esto. Tambien logre observar que el quinto grado es el unico que deja el bajo ir mas grave que al tonica, los demas grados ubica su bajo mas arriba que el de la tonica. 11)Se observa además sobre el cromatismo la misma nota pulsada varias veces comenzando desde la octava. Esto se llama nota pedal o al revés desde arriba. También no tiene que ser siempre cromatismo pueden ser notas de la escalas etc. http://a6.sphotos.ak...8_7018497_n.jpg 12) El Mazur danza típica del sureste, (danza en tres tiempos (3/4) con acentos en el la melodia en el segundo y el tercer tiempo) se caracteriza por su paso deslizado, con ritmo punteado, Esta manera de componer la encontramos en sus valses, canciones, el Concierto en fa menor, la Fantasía núm. 13 y en sus 58 mazurcas. 13) Acorde disminuido muy característico en muchas composiciones de Chopin. Les da su toque armónico. Resuelve en el tono mayor del mismo acorde. http://a4.sphotos.ak...9_1994312_n.jpg 14) Las estructuras de los conciertos de chopin siguieron el ejemplo de los conciertos en el estilo de Jan Ladislav Dussek y Johann Nepomuk Hummel, con la que estaba familiarizado. Él estaba interesado en el diálogo de Beethoven entre los instrumentos, la orquesta y el solista, en un entrelazamiento de voces como hacía weber . Una importancia destacada es la visualización de las habilidades expresivas y técnicas del solista en los conciertos de Chopin. El primer movimiento del Concierto en Mi menor tiene tres temas, que son introducidos por la orquesta. El piano juega con el primer tema (compas 139), seguido por el segundo tema lírico (compas 155), acompañado por el motivo principal del primer tema en contrapunto del bajo. 15) Chopin añade muchas notas de paso y cromatismos cuando tiene que desarrollar un tema como por ej en el nocturno op 9 no 1. http://a7.sphotos.ak...0_3198958_n.jpg 16) Así como en las composiciones se pueden usar notas de paso también se pueden usar acordes de paso. Se puede sostener una misma nota con la mano derecha y cambiar de acordes con la izq., pasar por distintos y viceversa, con la nota suspendida en la izq. También pueden ser dos notas o más suspendidas. 17) Se pueden hacer escalas de más de una nota a la vez, por ej: de triadas o de dos notas a la vez.. 18) Usar distintos bajos con el mismo acorde. O el mismo bajo con distinto acordes, por ejemplo el bajo sol, con el acorde sol menor o do menor. Es un recurso si no hay espacio en el compás o puede usarse en toda la obra. 19) Si se quieren escribir acordes cromáticos se pueden usar inversiones de otros que queden cercanas al acorde de donde se está. 20) A veces se puede transportar a una misma frase a otro tono, esto sería como repetirla pero un poco mas aguda. Por ej: si se esta en do menor se puede tocar la misma frase en fa menor luego. Mirar rondo op 1. 21) Todo se puede hacer en una composición lo mas importante es recordar que aunque se piense que algo es absurdo se puede convertir en algo muy bello si lo armamos adecuadamente. 22) Finalizar una idea con esta célula da una sensación de acabada. Este acabado se ve en muchas obras de bach, y además de en el rondo op 1 de Chopin. http://a1.sphotos.ak...31_445172_n.jpg 23) También se pueden usar acordes arpegiados rápido sin el bajo para no ser tan repetitivo. 24) En Chopin hay algo de contrapunto escondido en las partes rápidas con las dos voces interiores. A veces las voces exteriores hacen movimiento contrario, una escala va hacia arriba y la otra hacia abajo. 25)Para el comienzo de la obra por ej si es anacrúsico se puede tocar una nota y sostenerla tocar el bajo y que la nota sigua sonando como en el principio de la mazurca op 6 no 1 de Chopin. 26)A veces para pasar de un tema a un tema b Chopin lo hace mediante una nota de paso cromática. Por eso cuando termina el tema a deja la última nota a distancia de un tono de la nota principal del tema b para pasar mediante una nota cromática. Mirar mazurca op 6 no 2. 27) Cromatismo abierto: Muy característico en el romanticismo y en la música de Chopin. http://a5.sphotos.ak...3_5752698_n.jpg No tiene que ser si o si a la octava sino que puede ser de otros intervalos. Vals op 64 no 1. 28)Los estudios de Chopin son ricos en armonía y se puede usar para aprender. Observar estudio op 10 no 11. 29) Es muy característico del romanticismo tocar un acorde de nuevo y cambiar algunas notas del acorde cromáticamente o simple mente moviendolas para dar una sensación de aumentación o otras. Se puede además empezar de uno aumentado a uno de reposo como en el principio de la balada no 3. http://a2.sphotos.ak...35_536528_n.jpg 30) También además de cambiar algunas notas otro recurso sería mover la armonia cromáticamente. Vals op 34 no 1. http://a4.sphotos.ak...6_8176211_n.jpg 31) Estos saltos son muy característicos en Chopin cuando quiere darle fuerza: http://a3.sphotos.ak...9_5053670_n.jpg 32) Cadencia con progresión: Muy característica en Chopin. http://a4.sphotos.ak...3_6813908_n.jpg 33) Cromatismo en el bajo: las demas notas quedan iguales. http://a1.sphotos.ak...4_1518347_n.jpg 34) Balada no 3. http://a3.sphotos.ak...47_521089_n.jpg Progresión muy característica en muchas composiciones de Chopin. Apoyaturas en el bajo si y re, progresión VI – I 35) El cantabile de Chopin demuestra sus apoyaturas cromáticas que le dan su estilo melódico. 36) Como recurso melódico se puede emplear lo siguiente con notas del acorde en la voz interna y cromatismos en la voz superior: Las notas del acorde están marcadas. http://a6.sphotos.ak...9_1295904_n.jpg 37) En esta cadencia Chopin abre el acorde de dominante y luego resuelve distinto porque hace sonar el acorde de tónica más suave. Estos arpegios son característicos de él. http://a5.sphotos.ak...2_3843680_n.jpg 38)Un recurso que Chopin utiliza al terminar una obra es repetir muchas veces el mismo compás con el mismo bajo. Esto da una sensación como que el sonido se va alejando, por eso esta indicado perdendosi y va cada vez más suave. Mazurka op 24 no 3. http://a3.sphotos.ak...3_5625677_n.jpg 39)Chopin a veces utiliza notas muy cercanas como nota pedal en las mazurcas. http://a3.sphotos.ak...8_4812642_n.jpg 40)Sus mazurcas se caracterizan por tener una pequeña sección armonica-cromática, en algunos compases. http://a5.sphotos.ak...9_3749898_n.jpg 41) Aca un ejemplo de cómo usa muchas veces el mismo acorde en el bajo, pero con notas distintas en la voz superior. Esto no lo hace durar mucho, sino seria muy monótono. http://a4.sphotos.ak...0_3212709_n.jpg 42) Un recurso para que nuestra composición quede bien sería agregar una escala rápida en algun momento, ya que las partes rápidas vuelven a llamar la atención del que escucha.
  16. The Composer’s Community Project (ccp) is an experimental platform for music. The aim is to encourage compositions of all musical genres, which will be presented in this blog. Whether it’s Classic, Contemporary Music, Jazz, Rock, Pop, Hip Hop, Indie, Crossover, Folk Music and and and Through the WorldWideWeb ccp wants to reach people, who are open towards new musical and creative experiments – composers, musicians and everybody who loves to write music to be part of the project! The main issue of ccp is to enjoy composing: the platform provides the possibility to share the music with others and to get to know the variety of pieces that are created. The works will be presented on this platform as well as the composers. ccp is also a chance for networking and communication within the blog and other social media platforms. “a melody :: a thousand songs” The Composer’s Community Project is starting with the experiment “a melody :: a thousand songs”. A diversity of compositions will be generated on the basement of a few melodic themes, that have one thing in common: recognizable melodies. The pieces will be collected in a playlist and presented in this blog. They illustrate how diverse and various compositions all created on the same basis can be! How to do Choose three of the four melodies below and create on this basis your individual composition. Which key and tone pitch, rhythm, note value, instrumentation and arrangement, lengths of the piece, whether with vocals and text or without – it all depends on your creativity. The chosen melodies can be extended just as you like – you can compose around them developing your own musical themes. Please note: the melody lines as given should not be changed. Everything besides this is up to you. How to be part of it Record a mp3-file of your piece till the 25th of October 2011 and send it to ccp@musikvermitteln.net. All submitted songs and pieces will be collected in a playlist and linked on different social media platforms. Important: With your name, short bio (approx. 4-5 sentences), photo and eventually your website we can introduce you and your work in an optimum way. If you have any questions – don’t hesitate to contact us: ccp@musikvermitteln.net! Be part of this experiment and share your music with us! – We are looking forward to your song! JUST DO IT! For further information please visit our blog or write a mail to ccp@musikvermitteln.net
  17. Would someone write me a pop song if I emailed them a few details of what to include? It's to perform in a talent show and I want to do something original but can't write myself!! Help ASAP please :) email 07rebeccalancashire@longdean.herts.sch.uk
  18. Hey all, So I'm on my last year or so of undergrad school, and that means that I'll be going through the the senior courses (no more 4 hour classes!), revamping resumes, my portfolio and expanding my internet presence. I'll also be proposing my (50's suspense music here) SENIOR PROJECT! In all seriousness though, i'm really excited! I've been looking forward to getting out there and starting to work with people in the real world. But enough of my ranting, time to present you guys with my proposal for my senior project! - A working VSI with the intent on it being useable in real world mock - ups. But before I really get my hands dirty: I wanted to hear from you guys and get the YC community involved with this project. I think this would be a really cool project to hear from other people and really to network with all of you guys; many of us will be working in the same industry more or less (some of us are already making their name out there) and it would be great to get feedback from peers in the composition community. I don't expect this to be the next cinesamples, but I do intend on getting to know those guys and other companies that create this software and be able to create my own custom instrument libraries in the future. Basically I wanna know: What UI options do you think are "essential" to make a user - friendly patch? What other software instrument would you like to see come out? What are some problems that you have sometimes with VSI's? Anything else that comes to mind :) The short version of my proposal is that I'm going to make a sort of "Scary String" library using some common effects used in commercial orchestral music and some extended string articulations. If you're interested in reading more, I've opened up my Prezi presentation online, the link is below. http://prezi.com/vjt...oject-proposal/ I look forward to hearing from everyone! Happy composing! ~J
  19. Our school follows the AQA board and out unit two compulsory topic is popular song. I'm completely lost. I have finished the first draft but needs to be a million times better. Has anyone composed a pop piece with sheet music so I can look at the style and the common layout and characteristics of each instrument? Also has anyone done GCSE or A level music and got an A/A* with a pop composition if so could I see sheet music and hopefully take some ideas to improve my own. Any help ASAP greatly appreciated :)
  20. Greetings! So heres where I'm having issues. I can come up with a section of music. Might be a big moment, or something that might be good as a middle section that is not a climatic part of the song. I'm having issues developing the material in-between, and struggling with form a bit. Am I over thinking things when it comes to form? Or should I just let the music happen. My gut says yes I'm over thinking things, and I need to let the music happen. I've studied Eric Whitacres October a lot, and he takes simple ideas and makes them into something huge. Any tips for this besides practice practice practice? What is everyone else doing to develop their material? Obviously their are numerous techniques like retrograde, augmentation, diminution, etc.... but is their a specific approach you use when going about it? Thanks!
  21. I found this quite interesting: Chad "Sir Wick" Hughes Aikman b. 1959 Fox b. 1931 Heiden (1910 –2002) Hindemith (1895-1963) Sekles (1872-1934) I.Knorr (1853-1916) Jadassohn (1831-1902) Liszt (1811-1886) Czerny (1791-1857) Beethoven (1770-1827) Neefe (1748-1798) J.A.Hiller (1728-1804) Homilius (1714-1785) J.S.Bach (1685-1750)
  22. Hi guys, I'd like to share with you an interesting new music composition technique that I've been developing since 2009, called inversion synthesis. The core part of the process involves harmonic inversion (for melodies, chord sequences or both) and is a technique made famous by Rachmaninoff with his on a . This alone remains a huge untapped area of great source material, with the Rachmaninoff example being the only well known inversion.My technique expands on the basic inversion principle to allow inverted melodies from different source pieces to be combined together, even from different genres of music. It results in a very powerful method of creating new ideas. So far I've applied the technique successfully to creating modern piano music, but it should be suitable for composing music in any genre or style. I've written a full guide to the technique in four parts: The technique, part 1 (inversion) The technique, part 2 (synthesis) The technique, part 3 (retrograde inversion) The technique, part 4 (advanced inversion & composition) I welcome your comments and look forward to hearing your results using the technique! Also, to get some idea of how I've applied the technique, have a listen to the opening piece " " from my debut album released in 2009.Chris
  23. I've just released a tool which I hope makes composition more casual and less imposing: http://nullcomposer.com http://www.youtube.c...h?v=OV1ekV-QMT8 Do you think the anonymous/collective angle brings anything to making music? It works great for stuff like wikipedia, link posting (reddit), photoshop contests etc. With NC it's super easy remix anyone else's work and repost, plus the anonymity means no one's afraid of making mistakes. At any rate I figured you here at YC would dig it the most, so enjoy. - Justin.
  24. Hi all, Here there are a number of good books on counterpoint. http://cantati.com/resources/index.html
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