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Found 16 results

  1. Hey there, had a quick notational question: I noticed that some composer put beams over rests, like the image I attached. Is this a useful/preferred technique, or is it completely personal preference to the composer? Thanks a lot!
  2. In regards to what is more comfortable to read, I have been struggling between 2 ways of notating the same 6/8 rhythm. using ties not using ties Which, out of the 2 bars above, is the preferred way to notate such rhythms for the sake of simplicity and quick understanding by the musician being asked to read? --------------------------------------------------------------------------- Also, when writing out a part for a harpist, I read that it is customary to forego writing out the rests unless an intended rest is actually to be played (i.e. the harp is a na
  3. HARPINATIONS: recent release by ArpaViva of 4 harp compositions composed and performed by Shirley Meyer Blankenship: Metaphysical Waltz, Peace for Guidosan and two works for viola and harp: Fantasy I and Fantasy II with Rudolf Haken, violist.
  4. Hello, I am really interested in composing graphic notation music, so I searched on the internet for a free notation software that has been designed for this purpose. Unfortunately, I could not find anything. Do you know a graphic notation programm? If so, what is the name and where can I find it? Thanks! Maarten For example:
  5. 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
  6. 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
  7. 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
  8. I'm sure that most of you know that writing out music is very time consuming, whether you're spending 20 minutes on drawing your staff neatly for your notes to sit on, or constantly erasing notes on Finale because your mouse slipped by a centimeter and placed a Snare Drum buzz roll instead of a rim shot. Over the years of composing marching percussion music, I've developed another method of composing music that may prove useful to composers with limited time. Because this is so different in comparison to the notation that has always been used throughout the history of music, this probably
  9. Question 1 (fermata): Which one do you prefer? (in case you're wondering, 2 is correct: the 3/4 meter is just implied) My main concern is if this use of the fermata is correct, since we know that generally it is used when a section of the piece ends (and the performer kind of takes a breath), or when the piece itself ends (final chords taking how long you want, for emphasis). Question 2 (acciaccatura): Knowing that the correct way to notate a slur is: how do you notate an acciaccatura?
  10. I've been working on an opera project with some colleagues for a long while, and some of it requires custom notation. After much discussion, we’ve come up with notation for chromatic/atonal mordents pictured above. These would completely replace the classical mordents we know from the Baroque, since frequent use has made it necessary to always specify the interval at which the ornament is. I would like to know what you think of these, if they seem sensible and functional to you, or not. For vote-counting convenience, please VOTE HERE. If you vote no, please also explain why in a c
  11. "Sempre" means "always". So "sempre staccato" means that you have to play staccato the entire part/section. But in italian it also means "again", "still", "even now". My question is, can "sempre" be used as a reminder? For example, a section is "più mosso". After let's say two pages, to make clear to the performer that he/she shouldn't slow down, can I write "sempre più mosso"? With the intention of saying "you still have to play più mosso!". Or will it be interpreted as "from now on, play even more fast"? Or will it be interpreted as "keep going more and more fast"? Since "s
  12. Are there any conventional style rules for how to divide up a rest for best read-ability? For instance, if I'm in 6/8 time, and a part has a 1/16 pickup note to a measure, how would you choose to write the rest before the 1/16 note? A dotted quarter rest, followed by a quarter rest, followed by a sixteenth rest? (To help them see the relation between their rhythm and the greater pulse of the piece at a glance). Or a half rest followed by a dotted eighth? (Because it just keeps the page cleaner.) A dotted quarter rest, followed by an eighth, followed by a dotted eighth? Does anyone el
  13. Hello one and all. I recently had a school I worked at ask me to write a piece for their middle school band. I'll be honest and confess it has been a very very long time since I reviewed percussion notation (I've been teaching LA not music) and was wondering if anyone had any advice about writing percussion lines for beginners? The students I am writing for will only have been playing for about 1-2 years. I emailed the band director to see how many percussionists she will have for the coming school year but as of yet haven't gotten any information back. My guess is about 6 based on las
  14. 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 :)
  15. So, this is what I have trouble with, the one bar: And this is what it sounds like, and it sounds right: http://www.impetus-aesthetica.com/pianoquestion.mp3 My question is what is the proper way to notate this?
  16. http://opinionator.b...lines/?emc=eta1 Go ahead and read that. I think it would make an interesting discussion. The article discusses non-standard notation and its effectiveness in the long run. :)
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