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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

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!

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)

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.

Hi all, Here there are a number of good books on counterpoint. http://cantati.com/resources/index.html

matriculate: To admit or be admitted into a group, especially a college or university There have been posts on which schools, portfolio, length, etc. I will try to organize all that in this particular thread and discuss options from baccalaureate to doctorate although I will lean heavier into masters and doctorate. 1) Picking and preparing for undergrad Three to five compositions are pretty standard. Since I am an alumnus of Michigan, Kansas State and in some time, LSU, I will use first-hand their admission practices as my references. http://www.music.umich.edu/departments/composition/auditions_ug.htm This is pretty straight-forward. They are not expecting the second coming of Beethoven. 2) Picking and preparing for Master's Here is one of Wick's Rules: If a school does not offer a doctorate in your field, the chances of you getting a scholarship drastically increases. If the aforementioned is true, then the chances of getting a scholarship to Juilliard has diminished. So what does one do? I suggest find a school that offers money to MM students. Lee University is a small college in Tennessee that has a wonderful music program. Most of you have never heard of it, but it's phenomenal. Apply there! Does this mean do not apply to the "big boys?" Not necessarily. My goal here as the older one is to put everything into perspective. Many are not familiar with Kansas State University but my matriculation there was great. Great teachers and some good musicians. 3) Picking and preparing for PhD/DMA Clarification: The difference between the two is traditionally, the PhD has a research dissertation to it. This isn't always law. The University of Washington Music Composition DMA has a research component also so the differences aren't always apparent. Here are requirements from the University of Michigan: http://www.music.umich.edu/departments/composition/auditions_rackgrad.htm There are maybe 60-70 (and that may be smaller) schools that offer a terminal Music Composition degree; therefore, the choices of school significantly drops at this level. One could say on average, about two per state. I generally hate to say that because states like NY, Cali, FL and TX have at least four but states like NM, NH, Vermont have none. States like LA, NC, SC, OR, UT have one school in their state. Consequently, that is how the average is about two per state Even with that number, one can still see that there are many schools outside of the NY/NE area that offer terminal degrees in music composition. Why limit yourself? Apply everywhere. The place where you want to go might not give you any money. A school elsewhere might be in love your music and wants you to have their degree. At this level, one really should not pay for school. At this level, one really should not pay for school. At this level, one really should not pay for school!!!! Why? There is too much money out there for you to do that and it's expensive. Now, that doesn't mean you won't have to take out a loan of some sorts; however, tuition-waivers and some form of stipend needs to happen at this level. The second reason is that at this point, you are at your last levels of matriculation and need not worry about going to a second job to pay your bills. Your institution should be preparing you for a job (which is the reason you're getting a terminal degree [for the most]) The reason one works towards the terminal degree is to get a job in academia. Of course, you'll still learn more technique from your teacher. The degree doesn't get you film score opportunities or a recording contract, it gets you a chance at academia. Therefore once again, apply everywhere. This concludes Part I. The next part shall talk about jobs/commissions in music composition! Musically Yours, Chad "Sir Wick" Hughes

Does it pay off? I mean, the composition industry is hard to break in to with or without a degree... Do four years at a music college make much of a difference at all? I originally planned to go to some music school (like Berklee College of Music) but now I'm wondering if it's worth it. I know I will pursue music, but wouldn't it be more logical to pursue it originally and try to get in to the industry a different way? (Instead of a Composition major, I think I might go for computer technology with a minor in music... Would create an interesting career niche.) Any thoughts?