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Instead of arranging a piece for a full band, I tried doing a slightly different style. Inspired by Adrian Quince, I had high woodwinds (oboe), low woodwinds (bassoon), saxophone, high brass (trumpet) and low brass (tuba). The ending still isn't completely final because I still am not sure what to do with it. Any feedback/suggestions? https://musescore.com/user/15379306/scores/3341871 small band piece.mid

https://musescore.com/randomperson555/my-song this is my first original composition for a full band. What do you think?

Here I decided to experiment with the SFX of Mass Effect while incorporating my own music behind them. Essentially I wanted to create a frightening and terrifying atmosphere. Just something different I wanted to try out. Edit: The SFX include the voices and machine sound. Everything else is my own: strings, melody, arpeggio, drum, the pad, cymbal crashes.

Here I propose a tiny poutpourri on two of the most famous nursery rhymes: respectively Ring a Ring o'Roses (the Italian Giro Giro Tondo) and the evergreen Twinkle Twinkle Little Star (Ah! Vous-je dirai, Maman). The structure is very simple: a slow, two-bar curtain leading to Ring a Ring and a variation, the reappearance of the curtain, a little longer with piangevole fluttertongues, the exposition of Twinkle Twinkle varied two times and the happy coda, in crescendo and stringendo, again on Ring Ring. Happy listening!

Who is familiar with the work of a group of Lotus? I myself recently found out about them, their myzyka I was interested in, they make music in different styles - (Jam Band, Electronic, Livetronica, Jazz, Hip-Hop, Dubstep). People say they give unbelievable concerts. I was not on their concert. But I plan to go August 26. Someone has experience associated with this group? By the way this year they plan to give 8 concerts. Who cares with the Lotus Group tour dates can be found here.

Hey Everyone:) TheBandGeek here. Two quick things. First off, I just released my first composition here (http://www.youngcomposers.com/music/listen/7662/dont-stop-believin-saxophone-quartet/). Second of all, I need all your amazing talents and brains to help me out. As a composer, I find it hard to arrange, although arranging contains a lot of the same elements as composition. See, I've got this school talent show coming up, and my friends and I were thinking of performing. Of course, they come to me to get the music:) So, I would basically need a pop medley of sorts. Comment below if you're available to help me out, and I'll give you more info, such as what songs to use and how it should be structured. Thank you so much guys. This is a lot to ask for, but it would be amazing if one of you amazing peeps could help me. Thanks!(For like the millionth time:P) -TheBandGeek P.S. Yes. I'm just that desperate that I went all the way up to the fonts bar and bolded this:P

The following two paragraphs serve as the introduction to the music sub-section of my website.-Ron ------------------- Music is an art form whose medium is sound and silence. Its common elements are pitch which governs melody and harmony, rhythm and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from a Greek word which, when translated, means "art of the Muses." Although this sub-section of my website is part of popular culture, I deal on this webpage with music in its totality: all forms, all cultures and the history of music. The creation, performance, significance, and even the definition of music all vary according to culture and social context. Music ranges from strictly organized compositions, and their recreation in performance, through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. This page of my website is not only about the music of popular culture, but it is also about the total field of music. For more of this introduction to music go to:http://en.wikipedia.org/wiki/Music You can also go to my website at: http://www.ronpriceepoch.com/Music.html

Hi all, I am currently studying a music degree and i need to get different composers views on how they compose. My research project is about the compositional devices and techniques that different composers use in order to convey specific emotions and metaphors to the audience, all music should evoke some sort of emotion within the listener and my research project is dedicated to finding out how composers manage to do this. There are 4 questions to this questionnaire and if you could spare some time to share some of your knowledge I would greatly appreciate it and it would help my project immensely! These are the 4 questions: 1.Which elements of composition do you find are the most effective with regards to conveying emotion and feeling through your music? Instrumentation, tempo, key/mode, time signatures/time change, arrangement etc.? Please explain why you find these effective. 2.Do you find any of the above elements particularly effective when trying to convey a specific emotion such as anger, Love or sadness etc.? Why do you find these so effective? 3.How much interaction is there between yourself and the director of the film which you are composing for? Does the director offer much input regarding the music and why do you feel the director offers this input (if any)? 4.What compositional advice would you give anyone who was faced with the challenge of conveying thoughts and emotions through their music? If you can manage the time to help me out with my project by answering these questions you would be helping me out a great deal! Thanks for your time

I'm sure this can't just be me personally. I've noticed, no matter what kind of music from what style or era, the stuff that challenges me the most, that causes me perhaps the most confusion or perplexity at first listen is the same stuff that, when given serious attention to, also becomes the stuff I tend to love the most. For not classical music, the biggest example of this that I can think of is Joanna Newsom, starting with her album Ys. There are only five tracks on the album, and really each one of them is splendidly wonderful. A good example of her style, and one I especially love, would be the second track. A friend first introduced this to me a long time ago, and I was appalled. But at his encouragement to give it a chance, I listened repeatedly, and it clicked, and this album of hers (as well as her three-CD release after it, ​Have one on Me) hold their places among the small handful of 'modern' or 'pop' or just non-classical music that I hold dear to my heart. Classically speaking, a few examples would be the late piano sonatas of Alexander Scriabin. Early in my more studious listening efforts, when I decided it was time to start listening to stuff other than Chopin or Schumann, even Scriabin's earlier work seemed strange, but again... after repeated listenings, I really came to love them. They don't seem so... outrageous now. My favorites are probably the eighth and the ninth. The same was kind of the case with Mahler, not because of tonality, but his works present their own challenges. The length of his symphonies alone can be daunting. Anyway, I adore them. Perhaps the greatest contrast between first reaction to current feelings toward the work is probably Schoenberg's piano concerto. The first time I listened to it, I didn't. I mean, I got through maybe the first few minutes before I had had enough. And now I feel it is a stunningly beautiful work, perhaps one I'd choose to hear live over Rachmaninoff, Beethoven, Brahms, anything else. It's remarkable. I want to say, though, that even if I was repulsed by some of these pieces at first listen (and I wouldn't use such an extreme word to describe my initial response), I still feel there was something that clicked, an inkling that at least told me to keep trying with the piece, but that could just be a biased opinion based on my current feelings toward them. I have not been inclined to give Boulez's Le Marteau or Berio's Sinfonia or Schnittke's first symphony second listens, for example. Boulez's piano sonatas still intrigue me, and I've gone back to listen to them a number of times, but my latest fascination has been Milton Babbitt, more specifically his second and sixth string quartets, Composition for Four Instruments, clarinet quintet, and Three Compositions for Piano. I am finding it to be really wonderful to get to know these pieces better. What about you? What are your hate-then-love pieces? What was the process like? (I have mainly discussed more modern works, but there's no reason why someone wouldn't have issues coming to love Mozart or Beethoven or Bach if their tastes lie more in complicated modern works. Perhaps the challenge is the lack of challenge, the straightforwardness, whatever. I'm only now really getting into the classical era and starting to find it more beautiful than bland).

Do you still buy CDs? Do you rather download and listen online? Do you listen on YouTube or elsewhere? Or do you obtain your musical "nutrition" in some other way? Please share your ideas about and the ways you obtain your music in these times where the CD is gradually losing its popularity as the primary medium of listening to music.

I was reading an article ages ago on some classical music and arts website about some of the author's music that they would never want to hear again. I can't remember what all the pieces they wrote about but I am pretty sure Für Elise was on the list. Any way the music I would like never to hear again would be any of the boring as hell elevator Muzak by the Greek composer Yanni. I read in a review of one of his CD's that his music would 'ooze out of the walls of elevators descending into hell.' I heard some of his Muzak on YouTube and I think I am scarred for life with the sound of his pop classical rubbish. Now I would like to hear from all you guys on what music (or Muzak) you would never want to hear again. I also do not want to hear the famous Scène from Swan Lake. I think that the melodic structure is very bland and the use of chords is extremely predictable.

I would suspect that unconsciously at least we are all influencing each other.

I'm not sure if there's a better thread to post this in, but I was just curious as to why youngcomposers.com doesn't have compatibility with Soundcloud when posting music? Soundcloud, being the most popular place to share music (it's almost like the YouTube of music), seems like it'd be an excellent an simple way to post compositions here. Thoughts?

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!

Hi guys! I was not quite sure where to post that but I decided that it's something that would belong to composers' headquarters :) (let me know if I should move this topic somewhere else) SO, there is that curious music project - "Maestro-in-the-Making" http://www.musicaneo.com/music-for-children.html The idea is to hold an international competition among modern composers and encourage them to create fun and engaging music pieces for children that would be published in a music book and sent for free to music schools all over the world. They are raising funds right now at IndieGoGo to bring that to life. If the goal is reached in time, the whole thing will go live. I personally think it's a great - and quite tangible - idea! Huh? Thought spreading the word about it would help! What are your thoughts? :rolleyes:

Do you think music is really dependent on time? Or is it an entity beyond time we experience in time merely because the human mind is limited by time and incapable of functioning beyond it? I think the latter is the case. And in the greatest masterpieces, this fact becomes crystal clear. Thus pieces like Beethoven's late quartets appear to exist beyond time and be unperturbed by time's ripples. Great music is not time-dependent but is experienced through time simply because we cannot experience it otherwise. Lesser music on the other hand, exists in time and moves through time and fully surrenders to time. I believe time is merely the surface of music. The true depths of music lie far beyond time.

Hi again, everyone! :D StoAmigo media management system has recently unveiled a SWEET NEW FEATURE that makes sharing digital media -- including your compositions -- MUCH easier and LOTS of fun! Some of you may be familiar with Samsung's "bump share" option, which we agree is pretty cool. Unfortunately, you need a Samsung device for it to work. Enter StoAmigo! With our QR Code feature, you can create QR codes and use them to share music, photos, videos, etc. with your friends and family. The QR code pops up on your device, ready to be read immediately by another smart device. And NO – the feature is not just for certain Samsung DROID phones (no “bumping” required :thumbsup: ); your device can play too! As a matter of fact, our QR codes can be read by ANY QR code reader – on a laptop, tablet, even phones that aren’t of the DROID persuasion. That means you can share with whomever you wish. Don’t take our word for it, you can find StoAmigo's updated DROID app on Google Play Store. You can also click the “Sign Up Now” button on our homepage and open an account immediately -- and receive 5GB of free space. This is only the latest in a series of developments on the StoAmigo front. We hope you’ll check us out if you haven’t already (or revisit us if you have) and enjoy! Feel free to contact me if you have any questions.

Hello everyone! Chopin says you all are pretty savvy people, and that's exactly who I'm looking for! :D So please allow me to introduce myself and tell you what an great guy Chopin is (actually, you probably already know that last part): :nod: My name is Lori and I am the Outreach Communications Specialist for StoAmigo, a personal cloud management system. We recently opened a public beta test of our product and we're giving free 5 GB StoAmigo accounts to everyone who is willing to take StoAmigo for a spin. All I ask in exchange is for any feedback you have about the system: what you like, don’t like, what you think works or doesn’t work, new ideas, etc. The account is yours to keep. You've probably heard of cloud computing before, maybe even have an account somewhere else... *ahem* BUT two of the things we're excited about at StoAmigo are our streaming quality and capabilities for music and video. Who better to offer opinions on those features than music aficionados? So even you're visiting the forum as a guest, you're welcome to give StoAmigo a try. Anyone who wants to sign up for the beta (and a free 5GB cloud storage account) can contact me at lori@stoamigo.com and I’ll send you a personal beta access code. Please mention "Young Composers" in the subject line of the email. You can also visit www.stoamigo.com if you want to find out more about us. I want to publicly thank Chopin for allowing me the opportunity to reach out to you today. I truly appreciate it. Hope to hear from you soon, and thank you in advance! Lori

There is something that has been bugging me for the past few months. Ever since I started attending college a year-and-a-half ago I have constantly had professors skip over pieces such as Beethoven's Fifth, Beethoven's Ninth, Pachelbel's Canon in D, etc. etc. etc. Their reasoning for this is always "We have all heard, played, and analyzed these before in high school, no point going over it again." But here's the problem, we didn't; or at least I didn't. In high school I was always told that we didn't play pieces such as that because that is what we would do in college, so we always played obscure pieces in high school, now we play obscure pieces in college because we supposedly already played all of these standards. So, is this just me going to weird schools? Has anyone else noticed this? Is it a disconnect between the school systems? Between generations? Or what?

"Vocalise for Nine Voices" - music video Who I am: http://img841.imageshack.us/img841/4224/kotsi1bw.jpg My name is Kostika Çollaku and I'm an independent composer from Thessaloniki, Greece. I am 23 and I compose contemporary classical music. I think it's better to know me through my work so here is a link to my blog were you can listen all my compositions: http://kostikacollaku.blogspot.gr/ What I want to do: I want to shoot a music video to accompany my musical piece 'Vocalise for nine voices'. I want to shoot it in an abandoned factory in Thessaloniki, Greece, that looks like this: http://img4.imageshack.us/img4/8445/iedit.jpg A couple things about the piece: Vocalise was composed from June to September of 2012, to be played on Thessaloniki's Concert Hall on 10th November 2012, amongst classic pieces, in the 25th anniversary concert of the “Mixed Choir of Thessaloniki”. The piece lasts 4min. and 12sec. This drawing of Matthieu Barrère summarizes for me everything the piece is about better than I could put it to words: the thing we call "Life", and it's two key reference points, "Birth" and "Death". http://img189.imageshack.us/img189/1890/birthdeathlifesimplifie.jpg Immediately after the concert I wanted to make a better recording of the piece but this time with nine voices instead of a full choir and a solo baritone, meaning one person per voice. So I gathered nine very talented opera singers from Thessaloniki and we started rehearsals. My goal was to make a good studio recording and a good video clip. On Sunday, December 23th we accomplished the first part, making a pretty good recording of the piece. You can listen to a sample above. The full piece will be available once we get the second part of the goal. This is where you come in! What I need: I need your support to fund the making of the video: money to rent serious, professional equipment like a good camera, rails, lights etc. The shooting is scheduled to take place on Saturday, January 19th, and the video will be ready by the first days of February... with your help. The piece and the video will be freely available on the internet and there will be no proceeds, although you do get some perks of course! The founds needed are a pretty modest sum for a project like this, I think, but we' re content to stick to the absolutely necessary. With Greece stuck in a continuing financial crisis, I think it means a lot to prove that good art can still happen, even under strenuous circumstances, when some see it as a luxury. I do believe realizing this little vision will be a creative stand against the doom and gloom surrounding us. Even more so if you become a part of it. Thank you for your time and your support. Please let me know if you have any questions. Kostika Çollaku Here is the link where you can help the project with a small contribution. http://www.indiegogo.com/vocalisemusicvideo/x/889366

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?

Say you decide to call it: " Infinite Opus " , then these are the instructions: " This is a giant fantasia of interludes that is meant to be composed until the death ( daeth ) of the kompozer, thus an infinite not the infinite composition which would need to be executively-ordered as this one is merely dispersed. Wether mortal or immortal the kompozer may be, this type of composition can never be completed because like the music quest is infinite. It is a side-objective along with the rest of compositions demanded by desire or commission. It may be divided into part 1, part 2, & so on in order to remedie space or memory limitations in notation processors. Ofcourse, the sooner the kompozer undertakes this endevoir, the better. The rules are if it is chosen as a piano solo for instance the piano being the ultimate choice due to it's gigantic spectrum expressional capability other than the organ or synthesizer, then it must always stay a solo. In conclusion, a universal ending should be deviced in a seperate file so that it may be added to the work as the finale regardless of the impossible end. " -K.C.D.L.A.C. ( 09222012 ) P.S. I will be posting my 1st gigantic section ( Part1 ) in the solo keyboard quadrant once it has been completed at an unknown date. :yc:

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.

Hi everyone, My name is Jon Schwarz. I work professionally as a trombonist, composer, and sound designer, but lately I've been focusing on creating a new company, called Jukubox, that will help musicians across the country and in other parts of the world by allowing high-quality music lessons to take place online. Starving musicians will be able to make a better living by getting paid for teaching online, while students will have access to advice and insight from some of the world’s greatest music professionals. I'm really excited about how things are going so far; a lot of really talented musicians have expressed their enthusiasm about this project and they are on board to participate in a number of ways. Anyway, if anyone here has any thoughts about this project specifically, or 1-on-1 videoconferencing music lessons in general, please share; I would love to hear your thoughts. If you are looking for more information about Jukubox, check out the fundraiser page at http://www.indiegogo.com/jukubox or you can become a fan at http://www.facebook....jukuboxofficial Thanks for listening Jon

I understand this is a speculative question, so don't expect this question about "musical logic" to demonstrate much "logic" in a non-musical sense - i.e. don't argue with me about the appropriateness or "logical sense" of the question! Allow your "musical logic" to enter into this verbal discussion.... I think there is an underlying "logic" to all music composed. This logic can be perceived, analyzed, understood, but perhaps not verbally. Musicology may be the field which deals with musical logic. But how does "musical logic" differ from ordinary logic? What is musically logical may well be "illogical" - or strike one as illogical - from a non-musical perspective. To give a concrete example, in ordinary logic repetition has no purpose, but in music - in musical logic (just as often in poetry) - repetition has a fundamental role to play. Can you identify other instances where "musical logic" diverts from ordinary logic; where "musical logic" surprises us, or confounds our expectations-originating-from-ordinary-logic? You can use concrete examples from famous composers and famous compositions.