Post your compositions here and get feedback. (Please, I'm begging you.)
Pasta:
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
>tfw power went out yesterday and I was unable to give any feedback to the compositions people posted
Michael Hughes
C6 - Em7 - Am -Dm7 - G13
Cameron Evans
I can compose in 3, in 5, in 7, in 11, even (currently) in 19, but for some reason, I just can't compose in 4. Or at least, it always turns out incredibly rhythmically boring.
Leo Edwards
lol nigga, we complain about shit we don't like and post memes. none of us have any actual talent.
Nathan Fisher
hey, working on something, gotta fix the drums. would post in prod but i dont like the music posted there. not my thing. clyp.it/kgx2qbft
Isaiah Baker
can't bump for two hours, so doing so now
Joseph Walker
This guy gets it Stop lying to yourself you will never become good composers it's just a waste of your effort
Jose Sanders
How do you notate harmonics on musescore?
Brayden Gomez
F-7 / Db -7 / B-7/ Ab-7
it has a blues
bA bup
baa bup
but a bit off kilter
it'd start a conversation
till the b section
bup pa da bup pa da bup pa da
ba ba ba bup
bu bup bu bup
bup bup bup
Lincoln Johnson
>F-7 / Db -7 / B-7/ Ab-7
playing root 7th 3rd
and then change the Ab-7 to an A13 on the last pass C7#5
James Miller
then Eb-11 / B7b9
Julian Butler
ok let's go and have a look, not great atmospherics out there, and as usual...
Jonathan Moore
Composing is an end in and of itself.
Daniel Taylor
Try harder senpai. Triplets, accentuation and rhythms starting on the te/and/+ of the beat (refer to the rhythm article in the OP), and then you'll get somewhere.
Check out pic related, an excerpt from the "Dances of the Young Girls" movement in Stravinsky's The Rite of Spring. It's in 2/4 and it's one of the most famous musical manipulations of rhythm of all time. Accentuation is your friend.
Also, if you don't mind, can you share the 19/x pieces you've made? The score even?
(also god dammit, fixed the post AGAIN WHAT THE FUCK DUDE i'm not even drunk)
Josiah Lopez
Don't take this the wrong way bruv, but it sounds like something off of the F-Zero GX soundtrack
Julian Kelly
Thanks.
It's hardly even started at this point, so I don't have anything like a score. But it's basically in 5+5+5+4/8. (Or to get really detailed, 2+3+2+3+2+3+2+2/8.)
John Rodriguez
if you cant achieve rhythmic interest in simple meters you shouldnt move onto complex (or even compound) meter so soon (in my opinion)
Just go analyze Mozart quartets/sonatas like everyone else
shifting where the accent is (without just writing accents), using triplets, illusions of metric modulation, parts coming in at odd beats, rhythmic variations of motifs giving them more or less momentum will all be apparent
Jordan Walker
I'm just fine with simple triple meter, though.
Aiden Rivera
That's interesting. However, I'll echo what said, and also mention that 5 is asymmetric, so unless you're going really fast, or your phrases are explicitly 5 8th notes, you're basically doing 3+2 or 2+3 or even 4+1. Again, seeing the score or listening to a piece, even if it's just a little bit, will give us more insight into your project.
Gabriel Cox
Also, one thing I'll mention, is that you're better off writing alternating measures with different time signatures rather than 19/8 (e.g. a 10/8 [or even a 5/4 desu, then just specifying that when you go to the next measure, quarter note=dotted quarter or some variant of that] measure followed by a measure of 9/8). Imagine being a musician and having to make heads or tails of that time signature, it's ridiculous to look at (but not in terms of merit, just appearance) and will lead to lost time during rehearsal. They in turn will have to closely examine the beaming to verify, again leading to lost time.
Alternatively, if you explicitly express what the 19 groups like in the performance notes, you might be able to get away with it.
Daniel Wilson
well then you better practice common time
John Gomez
this thread is awesome! I'm studying Rimsky Korsokov's text on orchestration right now and highly recommend, as it has excerpts from his own work to explain the points he makes. I hope this takes off!
this is dope dude, so far I've been trying to find the spots in his music with youtube clips. You just saved me so much time; cheers! I also recommend Walter Piston's classic text on harmony
Brayden Smith
haha ya i was doing that too and it was a pain in the ass
Kayden Johnson
Wow, this is amazing. Will put in the next OP for sure senpai, unless the OP of this thread (not me) does so before me! And if he's reading, OP add that to the next thread, it's some great text.
Coincidentally I've begun sketching out (and I mean barely) a symphonic work based on some Russian science fiction, and was looking to study some scores by Korsokov to see what I could mine from it. Thanks!
Brody Peterson
Bump
Anthony Hernandez
Bm7 - E9 - Amaj7 - Gmaj7 Bm7 - E9 - Amaj7 - F#7#5
Cameron Bailey
got any V7/V chords in there?
Applied chords are what I want to start using a LOT more. Bach was a master of this
Jackson Campbell
Bump
Nathaniel Howard
Fugue: The fuguening continues
Matthew White
...
Jeremiah Turner
I'm making a cheesy jazz arrangement of an infinitely more cheesy song. I've never arranged anything before but hearing the reharmonisation is pretty fun.
