/comp/ - Composition General

so uh i did a thing

https://musescore.com/user/5649331/scores/2660871

it's not very good, be as harsh as you want

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>>68020795
It's not that bad, anon. I like the first half of it, and it sounds like it could really sound beautiful with a decent interpretation. What I enjoyed the most was in mm 10-23.

But I feel it kinda falls apart on measure 24.

I don't know how specific I can be, I only got through the basics of harmonic analysis a couple days ago, so there's little critique I can give besides doing an analysis but and not knowing what to do with it.

I'm kinda stuck figuring out how to put percussion on a music sheet.

>>68021049
Also, my bad. I meant measures 10-22, didn't like 23.

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I transcribed this recently. My first transcription actually, I'll start analyzing it too.

Any feedback and mistakes would be appreciated, if you get the chance. It's from Illusion of Gaia. I still have to add percussions, but the pitched instruments are done.

https://www.youtube.com/watch?v=-a3XBqa1fdA&list=PLB0xooEkKbSZX_T5AChuwdRAYaw_Fjuvm&index=20

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>>68021591

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>>68021604
And the final page.

I actually changed the Celesta for a Glockenspiel

>>68021049
>>68021081
Was it the sixteenth notes on the viola? Hearing it again, I can see how it might fall apart there. Should I go back to using half notes on that part and just have violin on the main melody?

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>>68022426
Yes, pretty much. The sixteenths in the viola sound incredibly out of place. They feel ok in the first measures.

And may be a personal nitpick, but I'm not too sure about the parallel motion in measure 23. I think I get what you're going for there, kinda to accentuate the rise into a different texture. Maybe it will sound better if you change measures 24 onward.

As for the using half notes, it sounds like a better idea, but I understand that you're going for a bit of a change, or a climax there. So, before reverting to half notes, how about you try a different counterpoint? Instead of repeating notes so much, go for a scale maybe? Or just a variation of what you had previously, while keeping the sixteenths to keep the contrast with the first part of the piece. The main issue is the repeating sixteenth notes, really.

>>68022561
Thanks for the advice! I'll report back when I change it.

>>68022851
Looking forward to it! At least I'm not alone in the thread.

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>>68022966
Well i'm back, with four different edits. Keep in mind, besides the original they're privatized.

Original: https://musescore.com/user/5649331/scores/2660871

Edit 1: https://musescore.com/user/5649331/scores/2661351/s/2fec16

Edit 2: https://musescore.com/user/5649331/scores/2661366/s/da740c

Edit 3: https://musescore.com/user/5649331/scores/2661381/s/5d13c4

Edit 4: https://musescore.com/user/5649331/scores/2661391/s/6218bf

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Is this beaming relatively clear?

Should I subdivide the last beam into two smaller groupings?

Is there something more fundamentally wrong with my beaming?

Should I instead be notating these groupings with time-sig changes? (ie: 4/16 - 5/16 - 4/16 - 5/16 - 4/16 - 5/16 - 7/16 - 4/16 - 5/16 - 4/16 - 5/16 - 4/16 - 4/16 - 4/8)

If so, should I be doubling the note values and tempo so that they're all over 8, rather than 16?

>>68023636
They all feel better than the first version to me, except maybe the second edit because it feels anticlimatic, with no resolution.

The first edit gets a bit clusterfucky in mm 26-28, but it may feel that way because of the shitty MuseScore sounds.

The third edit is missing a climax. It pushes towards it in mm 24 and 26, and when you do go for the F in measure 28, you do it without a leading tone so it sounds very unexpected, and not accentuated at all because even its duration is still a sixteenth and in a weak beat and so it's barely noticed at all.

The fourth edit feels completely fucked in mm 24 - 28 to me, and I think that's because you do a change into a compound meter style in the viola, while the violin keeps on going as a simple meter so the beats and their accents are all over the place. I've heard good pieces pulling something similar very nicely, but I can't put my finger into how just yet. I really liked the rising viola in m 23 though!

Not sure how useful this will be to you, I'm a complete beginner too but let me know if you want me elaborate a bit more on anything.

>>68024112
Also ignore the F I mentioned. I forgot it was a C clef, but the note you reach is the tonic in E minor.

>>68024112
I've slightly altered the third edit, is that any better?

Anyway, I've edited the original to match the first edit.

>>68021591
Missed all chords in the violin system, a couple wrong notes, missed all occasions where the main voices moves in thirds.

On the plus side, the rhythm is spot on.

Absolute pitch here.

>>68024310
Fuuuuuck me, I guess that's why the violin always sounded funny to me. I'll take another look. Should be easy to fix, as I suppose that what I did was only use the higher pitch.

Are the missed notes all over the place or just in a specific instrument? I remember having trouble with the bass, mainly.

>missed all occasions where the main voices moves in thirds.
This worries me.

But at least the rhythm is good.

Thanks.

>>68024368
not really missed notes as in wrong notes. Like with the chords in the violin voice, when it's actually some 7 chord, you'd have the 5th as a single note instead.

First repetition on the first page is in thirds.

>>68024297
I think it's better, but still have an issue with the low duration of that tonic.

I need to go to sleep, but keep it going anon. Maybe someone with more knowledge than me can give you tips.

>>68024419
So it's basically me passing up notes (to get the full chord in the violin) instead of the pitches themselves being wrong.

And about the thirds, you mean at the same time, not the motion of the melody? As in, D and F moving to C and E, not D moving to F.

My little brother has been learning to play the piano in the last year. He's 12 and he's really into it. He learns to play the songs by reading sheet or sometimes by looking them up on youtube. How do I help him become good at his instrument while he grows? He has a teacher but its limited because its public school. Should I expose him to some kind of piano artists who are really good and hope that he learns a thing from their music??

I'm kind of limited because I only play the guitar and don't read sheet or know much about theory.

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>>68024494
Moving in thirds like this. Sorry, writing music on my phone is cumbersome

Holy shit I've been waiting for a /comp/ thread for I don't know how long.

Year 2 theory student reporting in from Bumfuck, Washington. I have very few complete songs, just ideas I got halfway through and lost sight of, should I still post? I've really only got an 8 bar piano solo for my year 1 final.

>>68024799
Toast it. I'm interested how gud a beginner comp student has to be to pass.

Bpum

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>>68024094
Bump.

Also, what about this one?

Is this clear to read, or should I notate the first section in non-compound time, and indicate the transition to the second with some sort of metric modulation symbol like . = ?

>>68026199
Oh, that metric modulation symbol didn't come out on 4chan. It was meant to read

Undotted quaver = dotted quaver

>>68026199
I just realised, that transitional 6/16 bar should really be 3/8, since it's not compound meter any more.

>>68026199
12/16 in the beginning looks okay, since the meter is not that of a 3/4. Beaming looks okay, unless you want to clarify motives.

>>68024799
show stuff

>>68026422
So I shouldn't notate it as a metric modulation?

I'd sell my soul to be able to develop and finish my pieces at this point. I have read numerous articles, watched videos and read Schoenberg's book in the OP, but I still stop after I compose a small idea and move on to something else.

I've been said to have an ADD or depression and I think that is somewhat true (depression part), but I don't know what to do.

I'm never satisfied enough with something to develop it and/or I'm afraid of failure and find a comfort in knowing I can create a beautiful little motive which has """potential""" to evolve into something great.

But this doesn't make sense anymore, a lot of time has passed and if you asked me to listen to something I made I'd still not know what to show you, I didn't tell anyone IRL I'm even doing this yet. The only thing I have is folders of dozens of unfinished WIPs, ranging from 30 seconds to 2 minutes, and even those parts are not "finished".

>>68026439
no need for metric modulation. Maybe rebeam the bass line of the first bar, making it 4 beams for the 8th + 16th note.

>>68026681
Okay, yeah. I was thinking about that. Thanks for the help!

What about this one? >>68024094
Does the beaming there work fine too?

>>68024094
I'd rather do two 9/16 bars instead of one 9/8 I think.

>>68026839
Yeah, that makes sense to me. Do you think I should do the first 4/4 bar as 9/16 + 7/16 as well?

>>68026951
Would be easier to read.

Jazz noob question.

On 7alt. chords, how do I decide whether to use the #9 or b9 in my voicing? Solely by whichever fits better in the context oft voice-leading?

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>>68026965
Thanks for all the help, anon!

Final question: What are your thoughts on this kind of polymetric notation? Is this the best way to notate the polymeter going on here?

>>68027043
Voice-leading is a consideration, yes, but you'll also want to think about the melody that's playing over the top of the changes.

>>68027234
Polymeter should be fine. Just a bitch to Notate in sibelius

>>68027512
I didn't find it too tricky to get into Sibelius like that. I just created an overall meter for all the instruments, hid that time signature, added fake ones, and added vertical lines as barlines. So that pictured section is actually a single bar 21/8 (plus the little 1/8 bar at the end).

But you find that method of notating things parseable? You'd know what to do if I handed it to you (as a performer, I mean - Obviously as a conductor you'd be stumped unless you had 3 hands and some freakish independence - well... I suppose you could do it with two hands, and just pretend that the bass is counting straight 7s, but you'd still have to be able to count and subdivide simultaneous duple and triple-meter).

>>68027823
Parsing

Well, Polymeter isn't for easy sight reading anyways. As long as it informs the performer in a precise manner, it's alright.
A conductor would have to just sign the beginnings of every bar to each respective instrument for that section.

>>68024765
All right, got it. Yeah that's what I meant, D and F to C and E.

Thanks a lot anon, this is very helpful. I did better than I initially thought then, which is encouraging.

>>68024718
Learning theory is good but at his age he may get bored by that.

At the very least just encourage him to keep it going and gift him some piano music books for his level.

>>68026443
I know that feel, but I took a step back to get more into theory precisely because I couldn't figure out how to finish my shit.

Have you tried doing small pieces? Like doing a 2 minute piano piece for example. Baby steps. It may just be that you are overwhelmed by trying something too complicated.

>>68024310
Were you born with absolute pitch or?

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>>68028805
I still have a half prepared stream for ear training, which I could do today in 7h or tomorrow at the same time.

Last time, it was just two people in the stream, both with absolute pitch, so it was moot.

Interested?

Don't know if anyone is interested, but here's a 20 minute attempt at trying to improvise jazz on the piano, I can't help but feel like I'm not utilizing jazz chords enough.

https://clyp.it/bepuqcav


PS The audio quality is absolute shit.

>>68029032
Not sure, but I could more or less tell pitches accurately after a short while of piano lessons around age 7-8. I've done some research on absolute pitch, which I'd address in the stream.

>>68029071
I would love that, but I don't think I'll be available in 7 hours. I have to leave in about 4 hours, and my guess is that I'll return 5-6 hours later.

I don't have absolute pitch, so... yeah, anything would be useful. Right now my only ear training is transcribing, and the identification exercises in musictheory.net

>>68029127
May I ask how you do your transcribing? Do you compare what you hear against a piano? Like, hear a section, try to play it on the piano until you get it right? Or do you try to sing what you hear and compare it against scales you've memorized?

We could do the stream tomorrow, any time between 26 and 32h from now.

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>>68029203
In this case I was kinda fucked because I recently moved to another country and don't have my piano with me anymore. I had to do 90% of that transcription with my laptop, using a DAW and some VSTs, or just Sibelius, and with volume levels all over the place because they were not as easy to control for me as playing a note with a different velocity on my piano.

When I started the transcription, I did what you say. Before that, I would play about 2-3 measures and figure out the scale by "feeling" for the tonic, maybe singing it a bit to find it. After that I would start the actual transcription by hearing something in my laptop and checking it out on my piano. It worked mostly well, though I do have mistakes from what I was told above.

However, I also did sing what I heard by maintaining the note I heard with my voice. I compared it against the piano sounds, looking for that note. Not sure what you mean with compare it against the scales I've memorized. I didn't go around looking up what scale it would be in at that point, as I already had it before starting the transcription.

Shit became more complicated when I moved because I've been moving around all over the place with no apartment of my own. Right now I'm staying with some people so I don't sing high enough (to not annoy them), and I can't match the pitch with my voice because of it half the time. Because of this it's hard to get a lot of pitches with my singing / humming, as I usually need a strong voice to really intone the pitch.

If I heard a section and then attempted to copy it fully, it would be hit and miss. Sometimes I would get it right, but more often than not I would miss something. At that point I would go into getting a single pitch, maintaining it in my mind / voice, and looked it up on my laptop. I think this is mostly an issue of me needing more training with relative interval identification.

And yeah if doing the stream tomorrow works for you, that's great. I'm completely free.

>>68029404
To clarify, I would obviously first figure out a part of the melody (the first 1-2 measures), then use that to get the tonic. At that point I would not know the scale so I would maintain or sing the first note in the melody, and try to go from there.

After finding the first note on the piano, the rest comes easily and I figure out the tonic and scale.

>>68029515
Alright, that gives me a pretty good idea.

Stream will be in 26h from now tomorrow.

>>68029707
So... 50 hours then?

>>68029707
All right, neat. 1 PM CDT then.

>>68029121
>>68029071
Seven in which time zone?
Are you going to upload it to the /comp/ channel after that?

>>68029741
Ugh, sorry, 26h from now.

>>68029856
Well, in absolute terms, 20.30 CEST.

I'll submit the video to OP for upload to the official channel.

I'm the guy who did streams about the gregorian modes and figured bass.

>>68029962
OP here, not kill, will upload

Due to complex living circumstances right now, I'll probably only be in these threads for archival purposes, and cease streaming myself

>>68020635
Hey guys

How do I write a song?

I know chords, keys, some scales, but I've never wrote a song

Do I just throw in some chords from a certain key and write a melody around it?

>>68031198

Here's how you can write a simple 4 chord pop song.

Start with the tonic, then pick a number from 2 to 6, but exclude 5. That number will correspond to the chord tone found on the ionian mode. For example, if you picked 3 on the C major scale, the chord you are looking at would be E minor. If you picked 6, then it would be A minor. If you picked 4, it would be F major.

Then pick another number, but this time don't pick the same number from previous.

Finally, add the 5th chord to your chord progression.

>>68031198
you could, but chords are usually put in certain sequences depending on two different techniques: voice leading and function. You should probably learn function before voice leading

Functional harmony uses chords within one key, say C. There are seven chords in C major, right? Each one has a specific function in that key. In classical, you usually go from Cmaj to Gmaj, and back again. Read about Roman numeral notation, that's how this stuff is notated.

The melody of a song usually depends on what notes are in the chords. You can write chords first then melody, or melody then chords that fit into it

>>68031263
>>68031319
thanks bros!

>>68030300
You still didn't upload the basso continuo stream.
https://onedrive.live.com/redir.aspx?cid=7e307334ee1641b1&resid=7E307334EE1641B1!3986&parId=7E307334EE1641B1!105&authkey=!ACQFNP23K79CIGU&ithint=video%2cmp4

I love it how I'm going to start doing something, then when I hit a note a piece I know comes immediately to mind and I begin trying to get the rest.

On one hand it makes me feel good about noticing, on the other hand I end up using time for a different purpose than the initial one.

Like right now I'm starting a 2 species counterpoint exercise to see if I can get an OK melody out of it, and immediately remembered a piece when playing C. It had been quite a while since I last heard it, too.

>Like, subscribe and recommend to my blog thx

>>68024718
getting him exposed to hearing piano music will do wonders to his learning speed. Find a piano song he likes and play that shit over and over and over and over again until knowing what comes next in the piano part is just as simple as knowing the next lyrics to your favorite song. Having in intense familiarity with the sound of your music makes learning it from sheet music WAY easier

There is a long period of time required for a pianist to learn the sounds of chord changes. The more exposure he gets the easier it will all be.

I'd also recommend he learn early on to read lead sheets, "guitar chords" with lyrics, and fake book style notations. they're all pretty much the same but the earlier he can start pulling chords out of his ass the better he will progress as a pianist.

What do you all think of flat.io?

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22.5h til stream

>>68033505
>musicXML

make it based on lilypond and I'd be kinda into it.

Is this the right progression: I - IV - VI- I?

https://clyp.it/a0ldojop

Is there a problem with this or not? Because I really like it, but I realize it's probably not that normal.

I usually don't analyze what I'm doing. I'm starting with d minor and then at the end am implying D major with a raised third. Also, now when I'm looking at it, it's seems that I'm using a dorian mode instead of d. Am I right about all of this?

am I a good composer?

>>68034060
i - IV - VII - I
d - G - C - D

D dorian, with an authentic ending going Picardy 3rd.

>>68034087
another guy but I'm wondering what to do when I like my compositions but others don't see anything in them. It's even worse when I'm rarely satisfied enough with anything and when I finally post something I think is good it never gets any praise.
I really think they are objectively at least decent since I've been playing music for years and am not clueless about

I don't know how much should I take the feedback from /prod/ to heart since I never know if a person knows what he is talking about.

>>68034446
what style are you doing? If you're doing obscure neo-tonal stuff and show it to an average pop music consumerist audience, that won't work for sure.

What's it like knowing that your little "compositions" are full of half-assed ideas that would be much more effective in a popular song?

>>68034520
I'd like to see /comp/ having a challenge where they have to compose a short pop song. Really interested if classically trained people are capable of making it sound good. From my experience, people often tend to incorporate too much classical rules in there and ultimately fuck it up.

>>68034622
I'm down to it. Classically trained dude here.

>>68034622
You say that as though it's their understanding of classical composition which makes them shit pop-song composers, and not their lack of understanding of pop-song composition. Despite their simplicity, good pop songs are incredibly difficult to write, and involve at least a somewhat different skill and mind-set to classical compositions.

>/comp/ lives
>I didn't make the thread this time

>>68034774
No, I meant the latter, I'm just interested how well would they do in that genre given they still have an actual knowledge of composing

Just made this in a few minutes. How is it?
https://clyp.it/t4wbrlyw

>>68034845
you're bad luck

>>68034889
what the hell do you expect? you spend a few minutes - that's what it sounds like. it's nothing. apply yourself

>>68034446
I hate to be that guy, but who cares if it gets no praise? If what I've written actually manages against all odds to satisfy me, I'm, well, satisfied with that. The vast majority of the time I ask for someone else's opinion, it's because I'm not satisfied with it myself.

>>68034943
>being that mad
I posted it because I like how it ended and don't have more time right now.

>>68035218
that isn't anger anon, it's honesty. if you like something, spend more than a few minutes on it

>>68035218
not him, but
>I like how it ended
it ended? It really sounds like it was just cut off.

>>68035166
But if you want to "make it", in even the smallest way possible, the opinion of others kinda does matter. Surprisingly, not many people here agree with me when I say I find more joy when others enjoy my works than anything else.

mozart is so overrated

>>68035420
https://www.youtube.com/watch?v=UMwaiA581AQ

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>>68035420
how overrated?

>>68035420
This isn't /classical/.

>>68035463
Intimidated by mozart yet again. Tell me honestly, how do you guys deal with the fact you will probably never achieve anything great as composers (or anything else)? Is that a problem for you as well or I have to visit a head doctor? Because I'm stressing myself over that waaaaaaaaaaaaaaayyyyyyyy too much.

If I was salieri I would have probably killed myself very fast. I think there's nothing worse than being just average no matter how hard you try.

drunk gnight bump. see ya in the stream tomorraw

>>68035622
mozart had this genius which allowed him to form full pieces in his head.
That's a fairly rare gift, then again, it always depends on the audience as well. You won't be impressing gullible simple-minded folks with genius level stuff beyond their comprehension.

Composers back then mostly composed either for the sake of entertaining rich sponsors or for show-casing their skill in order to grab teaching jobs for daughters of wealthy families, therefore they had their restraints that we don't have nowadays thanks to the internet.

We can do whatever the fuck we want and always can connect a target group much easier than the likes of Mozart.

>>68035622
Mozart had many ghost writers, this is well known fact

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>>68035404
The opinion of others does matter, but it's so rare to be satisfied by my own composition that when it happens I don't much mind if others don't enjoy it.

Why not post one of these compositions you're satisfied with? I'll post one of my own

>>68035731
a sloppy googling says that Mozart ghost-wrote for others, but nothing about hiring ghost-writers for himselp.

https://clyp.it/netav4go
Thoughts on my extremely simplified improv of Just a Gigolo?

>>68035802
your voicings are too low to work! And what's with that arrhythmic melody?

>>68035802
I actually kind of like it a bit, to be perfectly honest, it's got a certain unrestraint sorely lacked by some people here, at least in the right hand part and its voice leading.

That said, the block chords were dreadfully boring and weirdly low, and at 0:46 I was already ready for you to abandon that melody and go elsewhere.

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night. laters.

>>68035475
extremely

Is it just me or is this just amazing?
https://www.youtube.com/watch?v=AyDCwngc8KQ

>>68036186
martinu made good music
he was very talented
(unlike Mozart)

>>68036186
>tfw Czech
This sounds good.
Is Dvořák or any other composers from Czech Republic worthwhile?

>>68036265
>Is Dvořák or any other composers from Czech Republic worthwhile?
Well, yes, but that's a bit like asking if Bach is any good because you liked Hindemith.

Dvorak is entry-level, but that just means his brilliance is enjoyable for both the patrician and plebian.
https://www.youtube.com/watch?v=pV-kbAydcwk (absolutely amazing.)
https://www.youtube.com/watch?v=ETNoPqYAIPI

Smetana's kind of the first Czech composer, sort of like Charles Ives is the first American composer, there were others before but they were just composing like Germans
https://www.youtube.com/watch?v=3G4NKzmfC-Q

I don't know much about Janacek but this is great.
https://www.youtube.com/watch?v=jQLD_rPWXsE

Was there anything worthwhile composed in medieval or renaisance eras of classical?

>>68034845
I was desperate for a thread because I'd been looking for one for about 6 days.

It's good to see that the thread is well and still going. It's the only reason I ever visit /mu/

>>68035622
I'm ok with it. If I can make a small piece of fantasy for myself with my music, I have achieved what I wanted.

If I can share it with others and some of them enjoy it, it's a plus.

Maybe I will forever be a mediocre nobody, and die just as depressed and bitter as I currently am. But I'll still be living my fantasies through music.

>>68036664
fuck off

>>68036664
Quit saying "worthwhile", you're going to trigger the /classical/fag deep within me

I just found this, apparently written in the 13th century by students of the Beaumont cathedral in France.
https://www.youtube.com/watch?v=9OZCfRsuMaA
It seems legitimate from what I've googled, although I'm desperately looking for notation because this seems weirdly advanced.

>>68037085
unlikely its legitimate, from what I know, in that time composers that actually wrote music hardly wrote instrumental parts, let alone for one hour. The melody however could come from gregorian chant, and the rest an modern interpretation. Anyways, it sounds incredible!

>>68037085
>>68037224
ah, never mind.
http://ionarts.blogspot.com/2008/08/ludus-danielis.html
> In Egerton 2615, the music is notated monophonically and for voice alone (see this image of the play's first folio in the manuscript), meaning that the accompaniment of drones and other instrumental parts is the invention of the Dufay Collective. (Their director, William Lyons, has stated that those parts were created "during rehearsal, and the element of improvisation was constant.") While these parts are fanciful in many details, there is textual justification: in the Latin text, the singers refer to the sounds of strings, drums, harps in polyphony joining with the voices.

Yeah, you're probably better off asking /classical/. I can give you some of the obvious ones, Machaut, Pérotin, and obviously Palestrina for Renaissance,

>>68037264
Well that settles it. Very good interpretation anyway. There is plenty of good medieval music, I find listening to just monophonic chants can be very satisfying, but of course, it all depends on you.

Question to y'all about learning music composition: What order should I be reading the material? I assume learning intervals, chords, scales and harmonic functions comes first, but what's the general order after that? Is is just "whatever interests you", or would it be confusing to read, say "Jazz harmony" without reading first "Fux's Counterpoint"?
If this is an obvious question I apologize.

>>68037325
Monophonic is quite soothing to me. Sometimes, a single melodic line is just perfect and needs no more.

>>68037331
>I assume learning intervals, chords, scales and harmonic functions comes first
It would be best to know the fundamentals first, though I'm not sure if harmonic function is part of that or not. Still though.

After that, it really is just whatever interests you. Fuxian counterpoint is important early on if you want to write in the classical style, and jazz harmony is important early on if you want to write, well, jazz. Teoria's great in general. Some things you should leave to after learning the basics, like the Schoenberg and Kostka up there, but there's nothing concrete about it.

>>68037446
>Kostka isn't up there
>>68020635
>Copy pasted this from a random archive
>this happened again
I guess it's just the Kostka's fate to not be in the pasta.
It's here anyways:
http://www.dmu.uem.br/aulas/analise/Kostka_MaterialsTechniquesXXCenturyMusic.pdf

>No fucking clue, I've been scouring this shit for a few days and have seen none.
Lately I've been holding off on making a new thread until the weekend.

>>68034060
Why does it sound weird to other people except me, please help me. Am I deaf? :'''(

Btw,

>>68034136
I really think that's VI, not VII, I have a B in bass and then go to G, but I'm not sure.

File: 1471927897403.png (64KB, 658x901px)

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>tfw I've been listening to the first movement of Carter's first string quartet on repeat for five hours and I still don't know what's going on

>>68037567
Well, what can you tell is going on?

>>68037511
Thanks anon.
Downloading now.

File: 1464469954365.jpg (89KB, 662x442px)

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>can whistle what I hear
>can't play it on a instrument

>>68037849
Well, you already are playing it on an instrument, aren't you? (I know that sounds a bit like a schoolteacher saying "I dunno, can you?" in response to "Can I go to the restroom?", but bear with me.) You already know how to play it on the, uh, human whistling. Just learn the instrument better.

If you have three voices, what should their general roles be? I'm trying to figure out how to write a string trio.

Oboe vs. Cor Anglais, what are the pros/cons of the two.

https://www.youtube.com/watch?v=8En-59HDMrA
What did he mean by this?

File: absolutely disgusting.gif (2MB, 357x238px)

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>>68038924

>>68038924
please don't

>>68038079
I don't think you're at the point yet where you can apply general rules. First, what three voices did you have in mind? Three violins? Three cellos? Two violins and a viola? Once you narrow down the voices you can start applying some general rules for each voice.

If you're really lost, try a pair of violins and a cello. One violin carries the melody up high, one carries the harmonies in the alto range and the cello does double duty as harmony and ground / bass line.

>>68039684
It's definitely going to be a violin, viola, and cello, we're playing a Beethoven string trio, and I figured I could write a string trio while we're already together.

The violinist is more of a chamber player than a soloist, she's not good at holding the melody but great at things like cueing (she was second violin last semester, before our first violin transferred to a 4-year college). I believe the violist is very skilled but I don't actually know (our violist also transfered). Our first meeting's Monday.

>>68036664
The entire Carmina Burana

>>68036664
https://www.youtube.com/watch?v=T_Q_5G5LMS0

How do you make a good sounding 4 chord progression.

I seem to be stuck on a 3 chord movement and am havig trouble with finding a perfect 4 set of chords.

It sounds good with just the 3 chords but it also feels incomplete, as if something is missing.

The prog is a G-->C-->D
And from there I go either back from D-->C-->G or D-->G and repeat. Other chords when I use them sound not quite right.

How does one develop the 4 chord circular movement?
Guitar BTW

>>68029121
You're either born with it or you're not. If you aren't born with it, you still can develop really good relative pitch, but perfect pitch is something you have to be born with

>>68040551
I - ii - V - I
IV - #4 dim. - V - I
ii - iii - IV - V
iii - ii/IV - V - I

These work in any key and are only a small number of ones you can use. These ones don't include inversions and are some of the less common ones.

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>>68038924
Horrendous

File: Screen Shot 2016-09-24 at 10.30.23 PM.png (288KB, 1394x646px)

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I'm doing a second species counterpoint for practice, and I'm wondering. I removed some of the notes I have in the cantus firmus because I noticed that it was a repeating pattern, which I should avoid at that level of counterpoint according to the book.

But how much is "repeatable"? For example, the repeating pattern can be seen in measures 4-7 and 10-13. It was also happening later on, but as you can see it occurs between some other intervals that are not repeated. To me it felt like it was giving the whole thing some structure instead of being all over the place. After removing them, the CF feels a bit more haphazard, just throwing notes as it pleases instead of working with a central theme.

So uhh... I guess the question is, am I right in keeping that structure, and the only repetitions to ignore are things like C-D-E, D-E-F, E-F-G that become fairly predictable when they have nothing to break them up?

>>68042087
What book are you talking about? The Fux? IIRC that applies specifically to the counterpoint, not the cantus firmus.

As for the cantus firmus, you really should be using one supplied in the book. The point is that it's unchanged, and you're practicing counterpoint around an unchanging melody. The ones in the book are written to be ideal - ending by moving stepwise to the tonic, having a clearly defined melodic contour, etc.

>>68043144
Oh, my bad. I meant the melody, which is what I would end up using as the CF to counterpoint with. Maybe I'm not supposed to do that? I'm doing it on my own just to see what happens.

The book has some guidelines for melody creation, though admittedly it's for beginners so I think some of the limitations are removed later on.

This is one of those, paraphrased.
>Avoid repeated notes, and repetitive patterns or sequences (ex: 1-2-3, 2-3-4, 3-4-5), at least initially. Repeated notes create undesirable rhythmic groupings and rhythmic stagnation.

And I'm using the Complete Musician.

>>68043195
Oh, no, if you're not specifically adhering to the Fux do whatever you want.
>own the Complete Musician for a class
>have never, ever opened it
Well, all of those things are at least partially true in general, though with many caveats. I'd say the Schoenberg is probably better regarding melodies/themes, since it's specifically about that while the Complete Musician is just a general overview. I don't really know what I'm talking about though.

>>68043444
Well at this point I just wanted to make my own small melody with a counterpoint, following what I read about it on the Complete Musician. From what I understand those 2 come from the Fux.

And have you just not tried the book as a whole, or just didn't like what you've read? It has helped me tremendously, moving me from a complete scrub into at least knowing more terminology and understanding of some basic musical structure. I'm using it to get a grip and general understanding of what the fuck is happening.

I'll try Schoenberg though. I have other books for specific things, like Counterpoint by Kent for example so I can go deeper into different things.

>>68043540
From what I've read of the Complete Musician it's really quite helpful and comprehensive. It's just that this music theory class I bought it for is essentially all review, so I've never needed to open it.

I probably should, though.

>>68036192

>unlike mozart

Why?

>>68044076
He's just meming.

>>68044076
/classical/ meme

>>68044110
>>68044126

Oh fug, I almost bit the bait.

https://youtu.be/m1CtHXYoKVw?t=1m30s

Can someone id this for me? Sounds late classical, but I could be completely wrong.

>>68044462
it's at 1:30. 4chan doesn't seem to preserve timestamps when embedding youtube links.

>>68044462
That sounds about right.

>>68044462
>tfw you will never play a Bosendorfer

>>68044462
nvm it's the third movement of Beethoven 17th Sonata.

nightly bump

>>68044802

File: 1466694611381.jpg (47KB, 400x340px)

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http://vocaroo.com/i/s1poiNNwUm1i

40 seconds fugue for string quartet, it's just a sketch.
Any opinion?

I dont know where else to post this, but I'm sure You guys will know
I listen to a lot of Jazz, a lot of Miles, Chet Baker, tons of Bills Evans,
But for the life of me I cannot figure out the allure of Coltrane and Charlie Parker
I can't find anything in the density of notes and I'm really into outside shit, maybe I'm just not paying attention to the right aspects, I'm used to focusing on the melody arc and theme development
These guys are consider the top geniuses of the form and I don't want to miss out on what they have to offer

>>68045857
They don't do melodic development and shit, a lot of their stuff is just based on arpeggios

>>68045631

Nobody?

>>68045980
post sheets. Makes it easier to talk about the piece.

>>68036648
Thanks, I need to broaden my music history knowledge.

Any overall feedback on this while it is fresh? (pop) A lot of sound are placeholders for now.

https://clyp.it/wlfu0cva

less than 5h till stream bump

>>68048620
3h to go

>>68049663
Hopefully I'm not the only person there again

>>68049986
I might join

>>68048620
Fuck yeah, I'll be there.

https://www.youtube.com/watch?v=Zn5ZYbwtarw
Kind of an odd mix of Penderecki's early stuff and his later neoromanticism.

https://www.youtube.com/watch?v=P-jzN-eK17s
What did he mean by this?

How do I begin to into composition? I have a decent understanding of music theory and I think I could easily write a basic pop song if I wanted to but I'd balk at the idea of writing a string quartet or a piano sonata or a symphony. Do I just do a music degree or what?

Do you guys consider IDM chord progression to be interesting? Here's one in particular, I find it very Steve Reich-ish. In fact, I find that many IDM artists lists modern composer as one of their influences, and it is quite apparent based on the harmonies they use.

https://soundcloud.com/kranky/steve-hauschildt-sundialed

>>68051279
Start small and work up to larger things.

So this time it turns out I can't watch the stream. But I'm the guy with perfect pitch who was watching last time, so yeah.

So if you have just one person watching, at least it's probably not one person with perfect pitch

>>68052189
No probs, I still haven't gotten to the rhythm part.

>>68052189
I'll be watching the stream and I'm a complete newbie, so yeah.

>>68052272
got any theory basics? Like, reading music and the basic concepts like intervals, chords and the like?

>>68052296
Yeah, I'm the guy that did the transcription on the first posts.

>>68052504
alright, cool. I just need to put all the garbage aside and free some space to get the midi keyboard set up and connected.

>>68052526
Ok, ready when you are. I think I need to make an account in that site you use though, can't remember which one.

>>68053019
youtube. lemme go grab my beer from the fridge.

https://www.youtube.com/watch?v=3Dobrh5oo4Q

>>68053099
What piano software was that?

>>68053640
whole wheat

Thanks for the stream.

Will you be uploading the exercises? Also, what is the source of the exercises? You mentioned it but I missed it.

Nice wallpaper too :^)

>>68020635
>"If we cannot write with the beauty of Mozart, let us at least try to write with his purity."
>- Johannes Brahms
why are people in these threads so cringe

>>68054655
here's the current PDF.
https://www.dropbox.com/s/p0g1lre3exdd2kd/Ear%20Training.pdf?dl=0

The source for the exercices is
http://www.mu-sig.de/Theorie/Eartraining.htm

Google translator makes it all weird.
https://translate.google.com/translate?sl=de&tl=en&js=y&prev=_t&hl=de&ie=UTF-8&u=http%3A%2F%2Fwww.mu-sig.de%2FTheorie%2FEartraining.htm&edit-text=

>>68054655
http://teoria.com/en/exercises/

Free decent exercises. I've been training extended chords on it, because despite of my absolute pitch, when there's too many notes at once, it will confuse me.

>>68054831
>>68054941
Neat, thanks a lot.

So, that's a fuckton of shit to go through. I was thinking of just doing interval training but it seems I'll have to go through plenty of things.

I recognize certain intervals, just because I've played piano for a while so it ends up sticking to me but that's about it. I still have a lot to practice to do but it seems very feasible to work with even if it's a lot.

I've been using a bit of musictheory.net, but I'll definitely try both the PDF and teoria.com too.

Completely off topic but were the maids just a random picture or from a manga/anime/VN?

>>68055024
"Naruko Hanaharu - Shoujo Material"

Another guilty confession: My absolute pitch works in Fixed-Do Solfege

Hopefully comp lives through this performance of the Dvorak cello concerto

>>68055349
Well I guess it did.

gn8 bump

File: ear.png (170KB, 955x1276px)

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Stream:

Vid: https://1drv.ms/v/s!ArFBFu40czB-n1FKFbpXle8GzII3
PDF: https://www.dropbox.com/s/p0g1lre3exdd2kd/Ear%20Training.pdf?dl=0

Last stream that is still not in the channel

Vid: https://onedrive.live.com/redir.aspx?cid=7e307334ee1641b1&resid=7E307334EE1641B1!3986&parId=7E307334EE1641B1!105&authkey=!ACQFNP23K79CIGU&ithint=video%2cmp4
PDF: https://www.dropbox.com/s/z2t9wtrsuep4kkj/Basso%20Continuo%20v1.3.pdf?dl=0

>mfw can't post cause sys.4chan shits itself.

>>68057930

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>>68057994


Should I have censored the part of the video where my desktop briefly showed?


Off to sleep. Let's see if this still lives in 7ish hours

>>68059349
You were using a VM?

I tried Mint in a laptop once and it fucked with my network card so I gave up on it.

Question, how reasonable is it to jump directly into chord identification? Is it better to hold off for a bit and practice relative intervals before that?

And I don't care about the T & A, not sure if others will.

>>68059349
no. It's sexy.

>>68059580
nah, old pic with a live stick. But I did use Mint productively on a laptop during college and was rather happy with it.

I'd say nail the intervals, as they facilitate chord identification alot. Triad inversions for example.
If you can identify "3rd on bottom, 4th on top", you immediately know that's a 1st inversion triad.

Then again, if you start with broken chords, that's more or less just the same as interval training.

>>68059605
aight, it stays then.

>>68058816

How do I compose two minutes of music for tomorrow? My usual productivity is a couple minutes of music per month

>>68060553

https://youtu.be/Et4YsGvOuvE

Figured Bass Stream is up

>>68061695

>>68062946

how the fuck do i come up with ideas im on the verge of giving up

i'm writing a piece for orchestra rn it's gonna sound sick af senpai

>>68064456
I spontaneously come up with melodies that sound good to me, write them down, and leave them in my backlog for when I can actually make something with them.

All the while, with a constant fear at the back of my mind that I probably copied it from some other piece and I just don't notice.

>>68036664
Renaissance era has some of the most intricate and beautiful music ever written. Go listen to some Palestrina, Victoria, Morales, Taverner, Fayrfax, Josquin or Lassus.

>>68045631
Is that even a fugue? the second voice to enter should re-state the subject... it doesn't seem to. Check out the OP pastebin "Foundation studies in fugue"

>>68051308
>Do you guys consider IDM chord progression to be interesting?
fuck no. Steve reichs chord progressions aren't interesting, neither are IDM.
Bach chord progressions are interesting... everything else kind of pales in comparison.

>>68064666
what makes bach chord progressions interesting?

>>68064666
>Bach chord progressions

I'll start taking piano and music theory lessons tomorrow.
I've played classical guitar from 13 to 21 and I'm pretty sure I'm a musical genius, so I'll get serious.

What kind of difficulties lie ahead of me? What kind of frustrations and boring exercise will I meat in the next 10 years? What will I most likely hate the most about learning how to compose and play piano?

>>68065322
you will never be good enough on piano to write like someone who has been learning since they were a child

>>68065322
>I'm pretty sure I'm a musical genius, so I'll get serious
Well, I mean, that is a healthy attitude at least

>What will I most likely hate the most about learning how to compose and play piano?
How shit you are early on, for both composing and piano playing. Nobody's good at first, but take it slow and steady.

>What kind of frustrations and boring exercise will I meet in the next 10 years?
Probably scales and Fux exercises. The trick is to learn to enjoy that boring exercise.

Oh, also, just need to add this, learning music theory =/= learning how to compose. Music theory is really helpful for composition, but they aren't one and the same. Music theory is learning the rules and structures that composers in the past used when writing music. Treat your music theory exercises as exercises, not as compositions. Compose separately.

somebody please help me with something how is the explosion sound in the brass at 8:51 achieved?

https://www.youtube.com/watch?v=JFIGoB7rK70

>>68064364

>>68065501
Another guy.

Okay, composition is separate from music theory. What books and other sources can you guys recommend me to become better at composition? Something like that Schoenberg's book in the OP, but that's the only one like that.

Btw, how do you decide what motive or theme of yours, from dozens of them, is worth to develop further? I'm often stuck and go from one to another instead of focusing on something, because I'm never sure if it is good and interesting enough, therefore it isn't worth spending time on.

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>>68064761
his use of applied chords, inversions, and voice leading within the chords.

He also seamlessly modulates almost constantly, making it more than just a "chord progression".

No one really gets to his level these days.

>>68061712
Nice, would you add the Pdf file to the description of that video?

>>68061094
Slow Tempo, copy paste recycling parts.

>>68067441
I heard Bach improvised a lot. Now tell me, when I look at this picture, is this the result of those improvisations or he had to carefully pay attention to every note in order to make the progression like that?

>>68067492

It was mostly getting so good at counterpoint that you could grasp all the rules intuitively.

Write counterpoints for 10 years and you'll be able to make them up on the spot.

why is there an F in the song '''peggy sue"" when the song is in the key of "A''?

>>68067581
Pretty much this.

However it's worth mentioning that theory follows practice - Bach practically invented a lot of the rules we follow today. Same can be said for Mozart.

>>68067897
Is there also a G? ;)

Can you tell me how can I completely stop writing cheesy-ish stuff like this? It doesn't happen always but still.

https://clyp.it/q3kevti1

>>68068059
avoid major keys as your tonic :o)

>>68068130
For real, please.

>>68068003
no...

only A, D, E and F

>>68066676
Read the Rimsky-Korsakov guide in the OP. Some of the stuff is outdated (though it is highlighted and pointed out by the editor), but otherwise it's an excellent guide to orchestration by a master of it.

And you have to be more decisive. Make a shitty piece - all composers (from the greatest to the least) have done this. Just develop one, because then you'll learn from your mistakes and you'll know what you can/cannot do well. Simply pick one, develop it, and when you're done you'll have one under your belt. It's that easy.

>>68068146
Using different scales does help. Employing some minor or altered scale with the very same figurations would give your piece a whole different turn.

also, less figurations for the beginning. Is the rock guitar band thing your default instrumentation?

>>68067897
it's probably a borrowed IV (which is somewhat common for that time) for contrast. it doesn't particularly lead anywhere.

>>68068203
Thanks.

Btw when you mentioned that everyone had bad pieces, that's certainly to be expected but I always found it hard to believe it for famous ones like Mozart or Chopin. Hearing what they've done while they were kids makes me think they were just so great even at the beginning.

https://www.youtube.com/watch?v=8tmK7N7gJ00

>>68068221
Not at all, I'm just experimenting with different genres and instruments, I practically never completely finished anything from when I've started about 2 years ago though...

>>68068250
shit, meant to write a VI. and to clarify it comes from the natural A minor scale.

>>68068264
Nah man they made plenty of shit pieces. The difference is that they worked at it for a lot longer (i.e. probably made 10 pieces a day, one of which was worth showing) when they were starting out. Also remember that these guys had the advantage of /living/ music, as opposed to modern day where, unless you were born to some tremendous privilege, living music is simply not possible anymore. We all have jobs, insurance, cars, and everyone and their grandma wants to make music, so it becomes super competitive. Even more so than back then.

We're talking about schools like Juilliard having a 5% acceptance rate. What about the other 95% of 2500 musicians? The numbers are vast, my friend. I doubt that in the days of Mozart you could even /find/ 2500 musicians in Vienna.

Remember that when you make a shitty piece, you put it away for no one to hear. Mozart and Chopin did the exact same thing.

Once they were older, of course they could write counterpoint with their eyes closed. But they had been doing so for over 20/30 years, it should not be a surprise. Compare that to how long you have been at it, and get encouraged.

>>68068059
>>68068130

this.
Also a mildly distorted guitar played only through tapping will probably always sounds cheesy, no matter what you're doing melodically.

Addio, ben mio. Keep well, my love.
Into your mouth your arse you'll shove.
I wish you good night, my dear,
But first shit in your bed and make it burst

>Mozart

What did he mean by this?

>>68068401
same as his Lick my arse song.

Profanities.

>>68067492
He learned the rules or at least internalized them, then improvised with that basis.

Actually writing out music he would have paid very close attention to the specific chords, voice leading, inversions etc.

Like any good composer the improvising merely generates ideas. Then you have to take those raw ideas and craft them into a coherent piece.

>>68068478
This is somewhat incorrect.

While counterpoint was more or less developed, Bach practically invented modern voice leading. Theory always follows practice.

>>68068478
Shut the fuck up, black people invented improvisation.
White people stealing everything again, jesus.

>>68068250
>>68068272
Oh, I see! Thanks a lot

>>68068527
>Bach practically invented modern voice leading
Nope. Many composer of the time (and before) had been looking very carefully at voice leading. Renaissance era composers had very strict rules on voice leading and harmony, of which Bach and baroque composers followed and improved upon. Species counterpoint doesn't originate from Bach, and that's where most of the rules about modern voice leading come from. Many other composers were writing music in the baroque era, not just Bach. Buxtehude, Froberger, Vivaldi, Pucell, all had just as good voice leading and harmony as Bach, they just aren't used as often in 4 part harmony analysis in teaching.

The reason Bach is used so much as an example in 4 part harmony is that his cantatas are very consistently written and mostly in an easy-to-digest 4 part style.

>>68068328
>We all have jobs, insurance, cars, and everyone and their grandma wants to make music,
This just made me even more depressed. Reality hurts.

>>68065894
Please respond. Nobody ever answers me

>>68069127
Maybe you should take the sign and stop posting.

>>68069008
Me too. Especially when I'm studying something else I can't bring myself to practice in my free time. I don't know what to do, but I'll never be happy if I don't do something. I have figured some things later than I should have (22 years old).

>>68069127
>>68069127
it's not the brass alone. It's the sudden full tutti. Lower brass at full attack coupled with Timpani should do the trick.

How much knowledge will I have after I read all the books in the OP and pastebin?

Is that enough at least to pass a college audition/first year? Not that I'm planning to go to an audition, just trying to place it at some level.

Would succ for a harmony book similar to Gradus Ad Parnasum. Maybe I would be ablet to learn something for a change.

>>68069185
I know that feel (though I'm 27...), but I do get the time to practice. It's simply not enough because of my job.

Being a wagecuck is the bane of human existence. I'm saving for early retirement, so maybe there is hope.

>>68069289
>Would succ for a harmony book similar to Gradus Ad Parnasum.

>Fux's Counterpoint
http://www.opus28.co.uk/Fux_Gradus.pdf

Am I missing something, or?

>>68069428
A book for harmony, like that one, but not for counterpoint - but harmony.

I'm goint to start playing piano in January.

Considering I'm 23 how fucked am I? Are there things that will be locked from me forever only cause I didn't start when I was 3?
Especially interested in what concerns piano technique and composition.

>>68069495
Don't worry about age baka

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>>68069495
Let the power of your autism guide you and practice all you can.

>>6806951

I'm not, I'm pretty sure that I have to discipline to never stop playing piano.
I was just curious about it. Are there pieces that I won't ever be able to pick up only cause I started to late? Are there certain techniques that I'll never be able to fully master?

There's this one french guy who was in finals of some big international competition last year I think. He started in his 20s I believe, never had formal schooling and played in bars before the competition.

>>68069577
Found it btw.

http://www.spectator.co.uk/2015/07/the-real-winner-in-the-tchaikovsky-competition-is-the-man-who-came-last/

>>68069258
It sound like there's some kind of mute

>>68069495
if you actually care for the music then age means nothing.

Can somebody show me examples of entry compositions for college? Yours or somewhere on the internet? I can't find anything but am interested how good they have to be. Even better if it is for some place like Juilliard.

Jazz is poor man's classical

>>68069730

A Love Supreme is as good as virtually every classical piece out there.
Stop trolling

>>68069730
Why compare them?

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>>68069827
>>68069773

>>68069851
That is the worst response I've seen on here in a while

>>68069730

Are you serious? I find it so much easier to write a classical period piece than it is to write a jazz piece with alterations and passing chords.

>>68069730
>>68069891
>>68069773
>>68069827
>>>/classical/

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So I decided that I absolutely suck at working with DAWs and since I don't have a midi keyboard and I can't find a decent step sequencer, and staring at a synth makes me extremely afraid, I decided to write a short classical piece, it's like only 5% done at the moment, but what do you think?

>>68070407
Look at Kontakt, synths are for faggots

>>68070476

The thing is, I tried to dabble into IDM, but it's so freaking hard to get started, especially with percs, it seems like producing itself is a very technical skill that takes years to master. I basically just stared at my DAW and sort of gave up.

>>68070546
I still don't know what the fuck to do with percussions so I'm ignoring them for now :^) But DAWs aren't too hard, just kinda overwhelming. If you stick with the minimum amount of shit you need instead of trying to use all of it, you'll be fine.

>>68070848
Yeah they aren't all too hard but it's working with textures, the whole 'getting your mix to sound good', filling empty spaces and making a solid synth sound that is really hard for someone like me. Unfortunately for me the first instrument I touched was the piano and not the synth, sometimes I wish I could trade all my piano skills for some mad production skills.

>>68068146
Major scales do tend to sound cheesy played at the distorded guitar... writing with no instrument in mind to play isn't a good idea.

What's it called when you're repeating the chorus of a song, but raise it by a semi-tone?

>>68071668
chromatic sequence?

>>68071741
Don't think that is what I meant.

Let's take any pop song like "it's raining men" if the last time the chorus is played, it is raised by a semi-tone, that's not a sequence, right? It's supposed to make the last chorus a bit brighter and let the listener know the song has reached its climax

>>68072008

Probably direct modulation to the a neighbouring key.

>>68072008
then maybe structurally a coda, using chromatic sequence as stylistic element.

>>68072051
change by one semitone = five harmonic degrees distance
cannot be considered a modulation anymore. just a pitch shift.

>>68068796
I said modern voice leading you hard, this means 18th century (which guess what fan, it's the century bach was from).

I said he invented modern voice leading because the transition from renaissance to baroque is when modular music making took a backseat to modern ionian and aeolian (major and minor) modes. This is the advent of modern voice leading. Roman numeral analysis is based on this, and that's what Bach perfected.

Do you think this idea is good enough to continue working on?

I realized I sometimes tend to improvise "nervous" motives like this, even before I began dabbling in composition I did stuff like this for a warm-up. Now when I listen to it on a repeat I think this can't work as a solo piece, I'm not sure if it is harmonically and melodically rich enough. Give me some constructive criticism, please.

https://clyp.it/01cntn0y

>>68072842
not sure if this is supposed to be ostinato or more a virtuoso freestyle. too irregular for the former and too repetitive for the latter.

>>68072842
I don't know, I don't plan what I will compose. This is just an improvisation so I'm asking for a general feedback I guess. What is good, what is bad etc.

>>68070546
Its not that hard and you got the theory basis which is good, most people that produce don't.
Then its just figuring stuff out. I for example don't like fucking around with waves unless I am doing sub, which right now I rarely make with oscillator anyway.
I use samples for everything that I made that are resampled and resampled so I got this giant library of my sounds. From these I make instruments and I back that up with theory stuff that I learnt and production etc.
Its fun but the beginning is confusing, depends on what you want to achieve.

For how long is it normal to be inconsistent as fuck in your compositions in terms of quality? Sometimes I can create something nice which would get positive compliments (but nothing special) but sometimes I fail miserably and nobody "gets" it.

>>68072008
Modulation. Wiki the different kinds of modulation. What you are referring to usually occurs as a Direct Modulation. Normies call this a "key change."

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>>68074313
>Normies call this a "key change."

>>68074313
Alright. I know it's a direct modulation, but given how common it is in popular music, I assumed thered be some buzzword for it.

Can't remember when I've seen some clyp link here.

>>68075998
https://clyp.it/kd4vqnl3
rate

live

binnb

>>68075998
here, drunk and tired improv

https://clyp.it/sxjefmoi

consider it a free bump.

>>68077797
>almost quints

>>68077797
that's really pretty
When writing for a church organ should there be three staves or should pedals be written on the bass stave? Thought I might as well ask you since I don't talk to many organists.

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>>68077158
good night

>>68078504
both work. For simple stuff like 4 part chorals, 2 staves work just fine.

for literature music, a separate pedal staff is the better choice. Sometimes, when the hands are especially busy, you could go for 4 staves.

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>>68078585
two staff example

>>68078679
I'm looking at writing organ parts at the moment but since I'm not an organist it's quite hard to figure out what's playable and not. What are some good pieces that show the capabilities of the organ, other than the obvious ones like Bachs stuff.

>>68078717
depends on your instruments. Tonal range is one thing (pedal is 2 octaves + a fifth at best, each keyboard is about 6 octaves), but registers aka soundbanks is the other thing.

Characteristic pieces for some periods would be:

early baroque: Bruhns
late baroque: Bach, Buxtehude
early romanticism: Mendelssohn
late romanticism: Reger
(neo-)Impressionism: Durufle, Messaien, Karg-Elert

Keep in mind that depending on when an organ's been built, it has different capabilities like the number of registers, cresc. pedals, register banks etc.

>>68078779
Since organs don't have a sustain pedal, you can't have more notes than you have fingers and feet and have them played legato, obviously.

And since organs don't have touch dynamics, your only way of accenting stuff is either by playing more notes at the same time, or via articulation (shorter notes on less accented beats)

>>68078717
comprehensive vid about organ stops:

https://www.youtube.com/watch?v=xEbn0ZdXRX0

a kinda modern and american approach fit for american style organs

Feedback on this?
>https://musescore.com/user/12513221/scores/2673646
Also, note the decrescendo from 14-18 doesn't come out properly and there's no pizz. at 19 when there should be. (I just moved everything straight from sibelius to musescore)
>>68078966
thank's this helps heaps

When transposing something from outside my singing range to be able to sing it, half the time I miss the note (before checking it with the piano, I notice it's wrong with my own voice) by a bit and have to adjust it, mostly when transposing from higher registers.

On my own range, or those very close to it (1 octave up / down) I have no such issue, I can sing it immediately. Happens whether I'm holding it or memorizing it and singing it a few seconds later.

I-It goes away with some more practice right?

>>68079435
Not in a position to take more than a cursory glance at it right now.

>11ths
These look fairly difficult. Do you mean for this to be an orchestra piece, and them to be played divisi? Why not give the viola upper line to the second violin and the second violin lower line to the viola? Sorry if the answer is obvious by listening to it or taking a closer look at it.

>>68079539
oh yeah the firsts, seconds and violas are meant to be divided. I figured that it would make the piece sound stronger if they all played single notes, but I'm not a string player so I don't actually know. It's intended for a romantic/film style orchestra.

>>68072675
eh many other composers from the period all had their hand in making 18th century voice leading what it was. Bach was simply an organist. He wrote well, but its not really until the last 100 years or so that he becomes the "god of counterpoint etc"

Telemann and Vivaldi were much more influential at the time. Each could be used in roman numeral analysis just as well as Bach

Well shit. I know jackshit about composing but I did a couple of pieces that I liked a couple of years ago. I left the piano soon after but I'm retaking it, if I upload me playing them, would you disregard the shitty playing and shitty audio and tell me what you think about it?

Composing is something I'd like to get good at but I think it's important to actually get good at your instrument first.

>>68079566
Well, if you want a more focused and pristine sound, divisi is best. If you want more volume and power non-divisi is better. As I said though, the viola upper line and 2nd violin lower line really seem like they'd be best switched, unless you're really insistent on that subtle difference in color.

Now that I've taken a listen to it it's quite nice. Seems you're kind of wasting all the different instruments by having them play mostly a single rhythm. I get what you're going for, a growth in dynamic and such, but at the same time it's a bit empty.

Watch this:
https://www.youtube.com/watch?v=DmPMZGBBmxk
(or watch it from the start here, the whole thing's great and really helps to show you how string orchestra writing works:
https://www.youtube.com/watch?v=W4t72QQXSok )
Pay particular note to how new instruments come in and what elements they add to the texture.

>>68080073
Okay, I'm here. The audio quality is worse than I imagined and I fucked up quite a lot of times near the end.

I'm still gonna post it 'cause I don't wanna play it again (it's like 8 minutes long). I'm gonna post another one with another comp and I'll try to have my laptop farther so the sound doesn't saturate so much.

It's fucking shit though. I dunno if it's just Vocaroo or the fight that my laptop was so close but meh.

Fucked up my tempo too.

>>68080548

Forgot to actually post it, I'm stupid.

>>68080566
How do I keep fucking up.

http://vocaroo.com/i/s1a50d4v0ngA

>>68080592
Jesus Christ, don't you have music sheet?

new thread please, sorry I can't make it myself

>>68080592
Here's the other one. I still fucked up a lot of times but I don't relaly feel well.

This may not be a masterpiece, but it comes from the bottom of my heart. I composed it when my ex-best friend stopped hanging out with me... I miss her, but meh. Got over here. Still, got this, and I like it.

http://vocaroo.com/i/s04nFP4UGrSQ

>>68080614
Nope, I never made it, I could try and post one within the next week.

What audio program could I use to make it sound not awful? I'll try to make a sheet soonish anyway. I lost my program years ago when I left the piano for some reason.

>>68069891

https://www.youtube.com/watch?v=CsxtKQW9ggg

How hard it is to play the McCoy Tyner's solo (1.51 to 4.00 circa)?

>>68080592
Impressively shit audio quality, every chord sounds like a gunshot.

I urge you to pursue composition, though, this is good stuff. Get good at your instrument of course, but don't let that stop you from composing at the same time.

>>68080824
No need to post the audio program trying to play it, the sheet music is all that's necessary.

>>68080794
>I composed it when my ex-best friend stopped hanging out with me
Ah, man, I composed something I'm seriously proud of the day my dog died, it's weird and slightly messed up how that works

>>68080915
>I urge you to pursue composition, though, this is good stuff. Get good at your instrument of course, but don't let that stop you from composing at the same time.
'
Thank you! I'll try to put the sheet music, but I suck at that kinda stuff because I haven't studied solfeggio properly. I'll try to have it in this week.

It's been literal years since I last composed something.

>>68080824
Just drop it into Sibelius, MuseScore (it's free), or whatever you like.

I'm in no real position to critique what you posted for now beyond "I liked X / disliked Y", but maybe someone else can give you some analytical feedback.

I mostly liked it. The beginning of the first piece sounded very messy though but it may just be due to the audio.

>>68080985
>Just drop it into Sibelius, MuseScore (it's free), or whatever you like.
>I'm in no real position to critique what you posted for now beyond "I liked X / disliked Y", but maybe someone else can give you some analytical feedback.

I'm gonna work on the music sheets, starting right now. Don't know how long I'm gonna take.

>>68081017
Cheers anon, keep it up. How long did you play piano before you stopped?

New thread:
>>68081052
>>68081052
>>68081052