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Showing results for tags 'music'.
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I know so many contemporary composers who wish they could write something like this!
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So I'm writing this atonal piece for choir, are there any rules regarding accidentals?
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Hey Everyone, This has been a long time in the woodwork, but recently I discovered that out of everything (and there were a lot of possibilities), I really want to become a film composer. I was wondering if anyone has any tips/advice on how to go about it. I'm in a pretty small country (New Zealand), and I'm not so sure how helpful a three-year course would be in really equipping me for this (time, money, and where I am in the world - we travel a lot - are also considerations), and whether I'd actually get a job at the end of it. So I would really appreciate your insights and experience on this. So fire away! :) Cheers, and thank you very much in advance! KahliaSkye
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Please take a look at my website it is new, i am wondering about what people think of how it looks. Here is the link: www.jan-kuhr.com Look forward to your thoughts. JAN KUHR -
Maybe this is not the right place to ask this, because everyone here is a musician, but how do non-musicians listen to music? Do they really hear the accompaniment or do they only listen to the melody, what do they notice and what not, etc. The only things I have read before were the articles about song writing (how to make your song popular).
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I apologize in advance for not knowing the technical slander in english. In medieval music, did they use modulation and "sensitive notes"? (These are the ones a semitone under the note that defines the key... don't know the word for this either)
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Hi guys, Mostly for fun, I recently finished a short album of tracks that are...not quite like what I'm usually doing. It was a lot of fun and I expect to be doing more work like this in the near future, but for now I just wanted to share a link to the material if you want to hear something neat: http://snd.sc/HZ6aWP Share & enjoy!
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Looking forward to listening to the wealth of music here. Toby
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Really need a moving piece for my leavers assembly. I have lyrics, anyone write music? Please help! Will make it worth your while :) Email 07rebeccalancashire@longdean.herts.sch.uk
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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?"
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Most of my music seems clearly divided into 4-bar sections or thoughts of reliable regularity that follow one another rather than truly proceeding from one another, or merging into one another as great music I have come to believe should. I am seeing this as a shortness of the span of my musical thought. If so, is that a weakness and should one seek to remedy it? Indeed, can it be remedied or is it rather a reflection of one's maturity and life experience that can only be changed through developing maturity as a person first and only then as a composer? -
Hi! I'm new to this forum so I'm not quite sure if I'm posting in the right section here. Forgive me if it's the wrong one. I am trying to find out what kind percussion is being used in this clip @ 2:41 It's really a type of sound that is used in a lot of horror movies (and action/thrillers too). I heard it a lot of times. It is used in the movie "Valentine". You can hear it at 2:41 in this clip which is from the film itself. Link to Valentine clip: I'm not talking about the timpani heavy drum, but the intense short and loud metallic kind of sound on top of it with the reverb. It's a strong kind of sound and it reminds me of a metallic pipe being hit against a floor or something like that. Perfect for horror and thriller score. Another example is from Aliens (1986) in the piece "Bishop's Countdown". In this example you can hear it already from the very start of the clip. It's less pronounced but this time it appears more often than in the first clip. You can hear it as a part of the general percussion. Link to Aliens clip: http://www.youtube.c...h?v=f2XHvi4EzCw The reason I'm looking for this is because I plan to use this sound in one of my own compositions/mix. Does anyone know what kind of percussion this is? And I would also be interested in finding a sample library that contains this sort of sound, if there is one. I hope someone can help me on this! Ole
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Hi guys! I heard about a software called 'Juke-bot' that generates music automatically by analyzing images... It scares me! Did someone tried it online? (www.juke-bot.com )Did you already get the result?
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Recently on YC I have been turning out to be a bit of a grumpy old man with my negative posts on Yanni etc. (I read a review on one of Yanni's CDs, the reviewer said it sounded like it would 'ooze out of the walls of the elevators descending into hell'), so I decided to be a bit more positive from now on starting with this post. It is the first thread in this series about our favourite music of the twentieth and twenty-first century. The reason why I chose this era in music is because of the huge amount of diversity when it comes to musical styles. There are so many different types of music now that I'm sure we will discover new compositions and composers that we haven't previously heard of. Anyway this decade (1900-1909) produced some revolutionary ideas by composers looking for new ways of writing music. One of the most famous (and one of my favourite) events was when Schönberg premiered his second string quartet (composed around 1908 I think). The quartet was the first time anyone had bent the rules of dissonance until they actually snapped. The last movement, in addition to being atonal (or pan-tonal, as Schönberg preferred to describe it, saying that it was 'The synthesis of all tonalities'), it was the first to include voices in a form previously meant to be a purely instrumental work with strict instrumentation of two violins, a viola and a cello. An article about the premiere of Schönberg's revolutionary masterpiece appeared in the crime section of the newspaper.
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This may sound like a morbid question, and I apologize if it offends anyone here, but.. we've all seen EKGs and have heard the sounds they make when showing the heartbeat. Does anyone know at what pitch the 'flatline' is at? I've tried googling, but can't find it.
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Hi everybody! I am an artist, doing animated films. For my latest project, Georgie the Cat, I am looking for a musician who feels like collaborating with me, by providing the music / soundtrack. Georgie is intended to become a series of mini-clips with little, cute stories of Georgie the black kitten. These clips are suited even for the smallest children. Here is the very first clip, that needs music: http://vimeo.com/31328053 The film needs an intro-theme that is played during the opening panel. The same intro music will be played at the beginning of every future clip. Then it needs music while the action plays, especially at the end of the action, it will need flute music (when Georgie plays the flute) and at the end, it needs music for the end-credits. The music shall be lovely, melodic, fairy-tale like and if possible not synthesizer like. More classic. for now this project is a non-commercial one, I will see how far we can go with it. But if we get enough clips together, I may produce a DVD. I already did one: www.john-f-kennedy.fr/bete I will gladly answer every question you may have. Diana
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Hello. I just thought I might share with you guys on YC the blog of my hero and mentor, the Australian conductor/composition teacher/music educator Richard Gill: http://richardgill.blogspot.com/
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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. -
Greetings to all fellow composers! For some bizarre and peculiar reason, we are living in an age where people are becoming obsessed with thinking that we have to label every single compositional style that composers write in. I was reading a book by the australian composer Andrew Ford (it was called "Illegal Harmonies") about modern music since 1900 and I was amazed to see that the glossary of musical styles (Impressionism, futurism etc.) went on for about 50 pages! I don't really see the need to label music in this way as the words hardly help anyone just listen to the music and the sounds created.In my opinion, all of these words that we apply to different styles of modern classical music are absolutely meaningless. To show you what I mean I'll use the labels "Impressionism" and "minimalism" as examples. Impressionism is a word used when describing the style of painting that was around in France in the late 1800s and early 1900s. This style was influenced by the effect that light had on certain objects and places; often artists would paint the same object/landscape with different lightings to create very different images (Monet has done some good examples of this). Now, what musicologists and whatever have done with this word is this: they have used it to describe the music by the French composers Debussy, Ravel, Satie and several others. The thing that doesn't make sense is that in order to make the music go with this label means that he music has to take the features of impressionist painting (the effect of light on objects and places) and apply them to the music (which would therefore sound completely different). Even thought Debussy has written music that happens to have titles that you would imagine you'd find on a painting by Monet (e.g 'The Sunken Cathedral') it techincally is NOT genuine impressionism. In the long run, Debussy hated the term anyway. Minimalism is a term that is used to describe the fine arts that has very little or no diversity when it comes to the art elements (colour, shape, form, tone, line, space and texture). Musicologists have taken this word and stupidly applied it to the music of composers such as Philip Glass and John Adams. A lot of the works by these so called "minimalist" composers are bursting with colour and harmonies that you would not expect from an artist like Carl Andre. The only thing that someone would say that is "minimal" about their music is the lack of motific development. If I let a six-year-old listen to the first movement of Glass' first violin concerto or Adams' "A Short Ride In A Fast Machine" and asked them to describe the music they just heard, the word "minimal" would pretty much definitely not occur. In the long run, Glass and Adams (just like Debussy with "impressionism") they hated the term anyway.
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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
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Hello from Red Scarf Classical! For anyone interested, there is a new composers competition open. It's open to anyone and we have some exciting judges and cash prizes. It is a great way to receive more recognition as a composer and every single entry will receive feedback from the panel of judges. I look forward to hearing all your entries! For more information and to enter, visit http://www.redscarfclassical.com All the best! Greg
