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I just finished up my Christmas composition project. Here's a two minute piece on the topic of "you need to define a thing to be able to think about a thing, so that you have a word to attach your thoughts to." Apparently blue is the last color to gain a word in any language. There are still languages that haven't evolved a word for the concept of "blueness" yet. One theory is that color words appear as we need to be able to distinguish between things that we want to buy, sell, or trade: "Yeah, I can make you a new deer skinning knife. What color do you want the handle to be?" "Blue."
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
When I'm composing for full orchestra, I often find that I have trouble writing parts for the Woodwind section. These are some of my favorite instruments as far as their sound goes, but I just can't seem to write very "elaborate" or "high quality" sounding parts for them. Any tips or tricks would be appreciated. Thanks!
Hey, So I am using Finale 2012 to write sheet music, and I recently came across a small presentational dilemma concerning accidentals. This is the choice I have to make: do I use a double flat, or do I use multiple flats and naturals? I know that when I read music, I hate trying to negotiate with double flats, but I think that the music would look very cluttered otherwise. I hope that makes sense.