An experiment in a pen-and-paper composing general, made for all the theory autists
This differs from /prod/ in that it is more focused on art music and music theory. That is not to say /prod/'s electronic music is unwelcome, by all means, post here! But follow in the footsteps of the classical composers of the 20th century who experimented in electronic music. But remember, this is NOT /classical/. Any art music, such as jazz, is acceptable
Post clyps, and please post accompanying notation so we can accurately critique your composing from a theory perspective
what programs do people use for production these days
still FLstudio?
Jayden Carter
Previous challenge: >Challenge: write a dramatic piece that uses every scale degree except for the tonic. You may only use the tonic at the very end of the piece. >It can be as long as you like, and as simplistic as you like, as long as the tonic is only reserved for the very end. If you want to be creative, you can also modulate, but you still may not use the tonic of that key. Go.
If no one else submits one, I'll post a new challenge soon.
Parker Morales
What if we did something collaborative? One person post a theme, then people post variations on it?
We're probably too underpopulated for it now, though.
Juan Gray
Personally I just stick with Audacity, if it ever even gets to recording.
Caleb Cook
I wrote some variations on a melody of mine. You can listen to it if you want.
I enjoyed it a lot. A theme with a nice, quaint harmony, and a non-standard melody that lends itself to really interesting variations. I thought it was just nice at first, but while relistening to it, with the theme more clearly in my head, I was actually quite moved at some points.
The ending to the 3rd variation felt kind of out of place somehow. The repetition of that one motif in a higher voice is a good idea, but the way it sounded was oddly strident, to me at least.
>the related track autoplayed right after it sounds completely different Every time.
Isaac Phillips
Your thoughts on the 3rd variation is really valuable. It's something I was thinking of myself "is this too out of character?" but in the end I decided for it. When you point it out though, it kind of "wakes up" my ears and I listen to it in a different light.
Thank you so much for listening and for your feedback. I'm glad you liked it.
Kayden Perry
bump of support
Half cadences are my shit
Connor Parker
i use cubase 8 pro and it has a notation editor also
Oliver Perry
Every time I try to think of a melody, I soon realize it has the exact same rhythm as something I've heard before.
This time it was Grandfather from Peter and the Wolf.
Kevin Wright
image unintentional
Matthew Kelly
>rhythm >limitless combinations ...lad
Ethan Flores
That's of no matter. Melodies with the same kind of rhythm can be wildly different.
Try writing the accompaniment first, so your rhythm-writing becomes more in the moment and less "looking back into your memory". And also, it's more likely to be more original since your brain will automatically write the melody so it converses well with the accompaniment.
Luis Thomas
Not just rhythm but suspiciously similar melodic contours and such, leaps in the same places, skips in the same places in the same direction, etc.
>Try writing the accompaniment >your brain will automatically write the melody so it converses well with the accompaniment Ah, I've always viewed that as a negative when I tried it, the melody being either subservient to or unrelated to the accompaniment. I think I'll give this style of writing another try, though. Thanks.
Jeremiah Murphy
bumping with a clarification. Whenever I try to write the accompaniment first, it always seems as though it needs to be played once on its own, and then have the melody come in when it repeats, after which the accompaniment will move on to some other tonal area and play a new accompaniment and the melody will appear in a few measures.
I quite like the Kyrie, but I don't want to be replicating its form exactly like that. But this is always what it seems to become when I try writing something accompaniment-first.
