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Found 5 results

  1. Hello I am writing a piece for the Pipe Organ and I have some questions: 1. Are these stops possible: Swell = Oboe 8', Great = Principal 8', Choir = Bass Flute 16' Pedalboard = Principal 16'? 2. Can an organist change stops halfway through a piece? 3. Which manuals can be coupled to which manuals? 4. Are dynamics easy to perform on an organ? 5. Where do I write on the score which manuals are being used and the stops used on them? 6. Can more than one stop be used on one manual at a time?
  2. ilv

    2 Questions

    Hi everyone, I have 2 questions: 1. How should I approach writing unmeasured music? Jhere should I insert bar lines? How should I approach choices for note values? 2. When writing ensemble music involving transposing instruments, should I include the transposition in the part name in notation software (e.g clarinet is Bb is the name of a part in Finale)? Thanks.
  3. Charlie Carroll

    Restrictions of Language in Vocal Music

    Very recently I have been exploring vocal music, figuring out how it differs from instrumental music and how it similar. It took me some time, but I've started to get the hang of writing semi-acceptable vocal music. A couple of days ago an idea popped into my head. "What if I wrote a piece of music for a choir, but had multiple languages being sung by different sections of the group." I suggested it to some of my "non-musician friends" (of which I have plenty), but they immediately shot the idea down claiming that it would sound too strange and jumbled. This leads me to my questions: 1. Is it acceptable to write a work like this. My worry is that it may be messy, but I also would enjoy exploring the boundaries of vocal music. 2. Has such a piece been written before? I have searched for such a piece, but have come up empty handed. If you know of one, I would love to hear from you! 3. Can exploration go too far? Is there a point when music becomes more of a science than an art, and is that okay? Obviously creating a balance between chaos and order between the languages will be one of the most difficult things to achieve, and it may become "scientific" in a way. I would love to hear your opinions on this topic Thanks! Charlie Carroll
  4. I'm working on a new piece and trying to go a bit further in scale more than what was heard in "The Return of Gaia" First here are the chords I'm working with: Cm, Am, Ebm, F#m, D, Ab, B, D, Dm, D# Now here here are the chords I've created in progression thus far (Picture below if you can see it.) Questions: 1.) Would it be wise to repeat the entire progression from the beginning after the last chord? 2.) The chords in the picture are all Legato Strings, now immediately after the last chord, would it be a good idea to repeat that same progression on a different instrument? Or keep the strings going? 3.) If I were to keep the strings going would it be wise to go back to an ascending or descending progression? Or kinda keep it balanced and introduced new instruments?
  5. So does anyone know of any composers from the 20th century that used the traditional system of tonality as opposed to atonality? Even better if there are composers that emulated the style of the older eras (baroque, romantic and classical specifically)
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