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Found 25 results

  1. Hi, im a college student mayoring in music composition. This year Ive been attending a class about composition over poetry. The thing is this class was not very good. Most of my college mates agree that most of the time in class was wasted, and that the professor we had wasn`t very good and had no idea how to keep us engage (unlike most of our college professors). Anyways, this professor insist in the importance of keeping the stressed syllable in a strong time (first or third beat) everytime. I consider this is a very generic way of working over a text. Sometimes in
  2. Hello! I am a 17 year old music student from Belgium. I recently wrote a concerto for double bass, and it turned out really well in my opinion. Now that it's finished I actually really want to write a new piece, but I can't find any themes. I was wondering, for those who don't really those "Aha! I've got a theme!"-moments at random, how do you find/look for a new theme? Where do you get your inspiration from? And how do you know if you didn't steal it from an other work? Thanks!
  3. Hi everyone! I started to research different ways of composing music and have came across the golden ratio/ Fibonacci sequence. I've watched numerous videos that explains it but they never showed me an example. May anyone show me how to compose step-by-step using the golden ratio/ Fibonacci sequence? Thank You! -Shamir
  4. Hello everyone, I have listened to Piano Concerto No. 5 in E♭ major, Op. 73, by Ludwig van Beethoven and, have fallen in love with it. After listening to this I have decided to write one of my own! Listed below are the characteristics of it. Key: A♭ major Tempo: 110 bpm Time Signature: 4/4 Instruments: 2 Flutes, 2 Oboes, 2 Clarinets (in B♭), 2 Bassoons, 4 Horns (in F), 2 Trumpets (in B♭), 2 Tenor Trombones, 1 Bass Trombone, Timpani, 1 Grand Piano, Violins 1, Violins 2, Violas, Violoncellos, and Contrabasses. I have chosen these instruments based on other pia
  5. Note: This is a hypothetical situation: Say I was writing an orchestral piece, and I was planning to give it to my local orchestra. I know that the 1st clarinettist is brilliant, so I write an extended solo which I maybe wouldn't have done otherwise. What do you think about writing music for a specific orchestra, who will hopefully be able to play it well? When doing it, do you think about the players themselves and their standard? Or do you just compose for orchestra/ensemble without having anyone in mind?
  6. Hi, dear musicians! Some years ago I listened klassical compositions in jazz processig. It was Shopins waltz. Now I am interested: what about classikal music meet electronik, I mean processing. What you think about?
  7. I’d like to hear opinions about what would be the most simple and best way to write (notated) scores for pop / rock bands, classical / jazz ensembles and orchestras and create good audios "at the same time". I would like to record midi-instruments (which could be notated "automatically" when playing) and add on top of it some real instruments (guitars, bass, drums, winds, strings etc.,) which I could notate in the same session, after or before recording. I have Ableton Live 9 and Sibelius 7, but I’d prefer to work only with one program, since I’d like to edit the audio and notated score at t
  8. There you go, that's the two bars idea I came up with. It isn't harmonized or anything on purpose, the idea is to have every individual composer make a one minute piece out of this idea the way he sees it. We can mix them all together or make a piece with a few parts based on this idea. Good luck, I'm off to compose my own version of it.
  9. EDIT: This survey is now closed, thanks to all who took part. I may publish the results in February, and if so, I will add a link here later. Hi folks - first post, so apologies to the mods if this type of post is not allowed! I am a composition student at the University of Surrey and I am throwing around a survey across the internet to gather some data on how musicians write music with music notation software - this forum seemed very lively, so I'm very interested in your thoughts. If you are someone that composes/arranges music with music notation software (Sibelius/Finale/Mus
  10. Hi, I'm new at this forum and at writing music. Had a go on a orchestral piece about pirates. Please feel free to listen and criticize. Any input is very valuable :) Cheers!
  11. Hi all, After my secondary school I want to study either Classical Saxophone or Composition. When I am chatting with Composition professors, it seems to me that they prefer composing on paper and then they notate in a notation program. I have tried it several times to compose on paper, but I find it really hard. Not because I don't know what the music will really sound like, but because I make so many notation mistakes. Actually, when writing music on paper, my scores look like Beethoven's (see picture) and I cannot even read in myself. . . My question: ''Do you com
  12. For many living composers, the response to this question might be something like: "Short answer, 'no' with an 'if,' long answer, 'yes' with a 'but.'" But before we start assigning labels, let's discuss what terms like "tonal" and "atonal" really mean. "Atonal music" in its narrowest usage refers to those works of composers Arnold Schoenberg (1874-1951), Anton Webern (1883-1945), and Alban Berg (1885-1935), composed in or after the second decade of the Twentieth Century, and pre-dating all three composers' adoption of the twelve-tone technique. Berg once attributed the coinage of the term "
  13. Hi ppl! I am looking for a composition-software. I know programms which only allow you to type in notes in a notation view but I also need a piano-roll (like the one in Fruity-Loops or Logic, Garage-Band, etc..). It is also very important that I can integrate VSTs like "The Grand 3" or "Alicia's keys" because I hate that typical bad-quality-sound which programms like "Sibelius" have. I don't need any programms like "FL Studio" or "Logic" because I never use and don't want to pay for all of the functions beside the piano roll and vst-integration. regards alex2east :)
  14. Hello I am writing a piece for 4 flutes. Each flute moves up in glissando patterns to create microcanons. I was speaking to my tutor about this the other day and he said that simply going from a low not to a high note via glissando on flute is limited because of the fingerings. My original plan was going from a low F to a high D sharp. with all the tonal and microtonal qualities in between. What is problematic about this? If I am starting from an F what is the highest note I can reach via glissando? Thanks
  15. Hello everyone! I've found recently that my main problem when composing a piece is that I write small portions of it at a time, and end up having a hard time connecting the dots. For example, I might come up with an 8-bar melody as the main "theme," a development of that theme, and an ending, yet nothing in between to connect them. My question to you then is this: Have any of you experienced similar problems? How did you overcome this sort of "writer's block?"
  16. As many of us know, its really tough out there for a composer. The idea of a stable job is fleeting at best, and most will have to look towards an outside line of work to supplement the lack of financial stability. But do we truly know how hard it is out there? How prepared do you feel you are to make it as a composer? The following article expands upon just how hard the prospects of making composing a form of income is. It also offers a new way of thinking that may help in some small way: http://www.newmusicbox.org/articles/Composing-a-Life-Or-How-I-Learned-to-Stop-Worrying-and-Lov
  17. These are some things that I like to keep in mind while composing. I would like to get feedback on them. What do you think of them? Do you think they are good to keep in mind? Do you think there are problems with them? Is there something else that you think is good to think about? (I know it's long. Sorry about that.) There are three parts: big picture points, "small picture" (for lack of a better term) points, and creativity points. The big picture points have mainly to do with structure. I think of a piece like a play with act I, act 2, and act 3. The first act introduces the mate
  18. hi guys i want to compose my first string quartet to this date i only compose for piano which is my own instrument i need some advice or anything that could help thanks
  19. I have been to countless numbers of recitals, concerts, and performances. Though majority of them were very good musically, I have noticed is that there is no real consensus on what is acceptable and what is not acceptable when organizing a concert. This is especially true, it seems, for composers. As composers we deal with more performers, more equipment, and so many other things beyond just the music. So what are the do's and don'ts of putting on a concert? Here are some question that one might ask themselves when during the process of putting on a concert; Answer those you have an opinio
  20. Greetings fellow composers! I would like to find out from you all if anyone here composes by hand. I have always written my compositions by hand and I think it is a far better way of composing for the following reasons: 1. Developing your inner ear and being able to hear the composition in your head 2. Far more freedom in what you can do e.g. Graphic notation, complex polyrhythms 3. It's cheaper 4.I find it quicker. None of the 120 something compositions I have written (I have been composing for almost four years now) were written entirely on Sibelius or Finale or whatever. This post
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