/comp/ - Composition General

“I tell my piano the things I used to tell you”
- Frédéric Chopin

previous thread: 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 the actual writing of music, not the production, and music theory. That is not to say /prod/'s electronic music is unwelcome, by all means, post here! But post with the intent on discussing composition. And remember, this is NOT /classical/. Any music, such as jazz, is acceptable

Post clyps and accompanying notation so we can accurately critique your composing from a theory perspective

THEORY

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

>Orchestration (Rimsky-Korsakov)
northernsounds.com/forum/forumdisplay.php/77-Principles-of-Orchestration

>Teoria - Music Theory General Guides/Articles
teoria.com/index.php

>Arnold Schcoenberg's "Fundementals of Music Composition"
monoskop.org/images/d/da/Schoenberg_Arnold_Fundamentals_of_Musical_Composition_no_OCR.pdf

>Jazz harmony (from the course at Berklee)
davidvaldez.blogspot.com/2006/04/berklee-jazz-harmony-1-4.html


PRACTICAL APPLICATIONS

>Basic composing
youtube.com/watch?v=hWbH1bhQZSw


>Free Notation Software
musescore.org/


IMPROVISATION

>Fake books for jazz and blues soloing
drive.google.com/folderview?id=0BzW9o5O35hQzMzA0ZmI0MWEtZGFmNi00OTQ0LWI2MjMtOWUyNzgyNmUzNzNm&usp=drive_web&ddrp=1&hl=en#


STUFF /COMP/ DOES

>the /comp/ YouTube channel
youtube.com/channel/UCqUEaKts92UIstFjrz9BfcA

>the /comp/ weekly challenge
[email protected]

Other resources (full of lessons and books): pastebin.com/k3xddxwr

Other urls found in this thread:

youtube.com/watch?v=PuiQgfxgMJc
youtu.be/L8JVSYj-qV8
youtube.com/watch?v=ZDZcEbhLvig
clyp.it/l3mn1n3i
drive.google.com/folderview?id=0B8drXawOjAngNWNYZ2pnTUp3WHM&usp=sharing&tid=0B8drXawOjAngdVljQ2hKQXZSTzA
musiciansfriend.com/guitars/kremona-soloist-s65c-classical-acoustic-guitar/j05984#productDetail
vocaroo.com/i/s0w0KSlqsuNo
imslp.nl/imglnks/usimg/2/2b/IMSLP238417-WIMA.1591-BWV040_BA7.394_105_freuet_euch_ihr_christen_alle.pdf
clyp.it/3orj0omq
youtube.com/watch?v=p99xxR_2FdY
clyp.it/bny2hxiq
youtube.com/watch?v=GJHA8uzvXS0
clyp.it/wewzrmxp
twitter.com/SFWRedditGifs

Who are among the best orchestrators of the 1990s among producers and composers respectively?

I meant on the amateur level, just so you don't misunderstand. I'm not saying electronic producers are necessarily better than professional arrangers.

It's an interesting subject though. If we drop the 90s, personally, I'm really fond of Lido:
youtube.com/watch?v=PuiQgfxgMJc

Orchestration-wise, Sofia Gubadulina is like listening to a big bag of candy:
youtu.be/L8JVSYj-qV8

bump

Remember to get your variations in tomorrow

and your WIPs here before then for criticism.

Is there someone here who played an instrument before but stopped? How much time have passed since then and what is your current skill with it?

Me.

Well, I played cello for... 12 years probably, from first grade to the end of high school. My skill level was not top level for age group, but also not far from it. I applied to music school for composition, but I still auditioned on cello at my two safeties and got a cello scholarship at both, to give you an idea of where I am technically. Also, if you count composition as an instrument, I did that for 4 years and was very good, I got into the top conservatory for composition at the time, and I stopped that when I left high school, too.

>How much time has passed since then and what is your skill level with it?
It's been about 5 years, I graduated from college, and I'm trying to get back into those things.

With composition, pen and paper composing doesn't really inerest me anymore, I'm trying to write works with more electronic elements -ideally electroaucoustic music with interactive elments- and right now I'm learning the ground work for that. I'm also working on a wind quintet with no electronic elements that I'm moderately satisfied with. It's hard to judge where I am with comp.

With cello, I practice on and off. On my best days, I'm better than I used to be in some ways. On my worst days, I get frustrated with the instrument and nothing works properly. I have trouble progressing in a big way or doing things I'm satisfied with on cello anymore, it's not something that interests me beyond the fact that I've sunk a ton of time into and am good at it.

Yes

Cello, two years
Eleven years since i've stopped
I don't know shit about it i wish i had not stopped

>two other cellists here
>in response to "who's played an instrument but stopped"

Makes me slightly nervous です

Just to sate and/or justify my own worries, what caused you to stop in college?

Well, I stopped right before college, actually.

Basically, I didn't really like playing the cello, so when I stopped composing, there was no reason to continue cello. Why I didn't like cello is basically because I had some teachers who were extremely tough on me and singled me out, so I began really disliking how I play and felt self-conscious about it.

I stopped composing because Shulamit Ran told me to.

What a fucking bitch.

>I stopped composing because Shulamit Ran told me to.
What a cunt jesus christ. Fuck her and here meme music. Never listen to a woman user

>I stopped composing because Shulamit Ran told me to
As in, a famous quote of hers, or she was at your college at one point and literally said so? If the latter, jeez, that's awful.

I don't really know why I'm linking this, mostly just for the sake of linking it, but this piece is pretty much my biggest inspiration both for playing the cello and composing.
youtube.com/watch?v=ZDZcEbhLvig

Is there any place for tonal, classically-inspired works in the modern concert scene?

On the local scale, definitely.

Yeah, she told me face to face during a masterclass.

I actually like her vocal music. It was probably good advice in the long run, anyway.

Just to clarify, I was already fed up with composition for a bunch of other reasons. It's kind of treated like a second class department, it's hard to get musicians to respect you, obviously poor career outlook and you have to have THAT conversation over and over again, plus I found out that I was kind of fed up dealing with musicians and artists anyway. A lot of them are really immature [spoiler]like 50+ year old women who tell 18 year old boys to stop pursuing their dreams[/spoiler].

>It was probably good advice in the long run, anyway.
No it wasn't. She was being a cunt you don't allow people to crush your dreams like that. You are there to learn from her not to be told you are a failure.

What do you do now, work in a grocery store? Was it really better in the long run? John Cage was literally told by Schönberg that he had no feeling for harmony and that didn't stop him.

>What do you do now, work in a grocery store? Was it really better in the long run?
Lol no. I'm finishing up a math degree with some summer classes atm. I'm starting a job at a tech startup in August. I have plenty of time to continue my studies of composition with less judgement from others. I might apply to comp grad programs if I can put a decent enough portfolio together in the next couple of years.

bump while I mow

how does this make you feel

Stopped playing keyboard like a year ago because of tendonosis, I sat down at a piano in a practice room today though like an idiot while I was at a college to register

clyp.it/l3mn1n3i


>mfw my hands afterward

>face to face during a masterclass
Jesus. What was the issue? Did she feel your music was not avant-garde enough? Too classical? Not classical enough?

Actually, I'm not even sure how a composition master class is supposed to work. Is that normal to be told such a thing before an audience?

/

bump

>best orchestrators of the 1990s
Arvo Part and Schnittke would be my picks

If you look at thew concert scene, its mostly tonal, classical period or romantic period pieces. So yes, there's a huge place for tonal music. Some ensembles specialize in 20th century works, but they are few and far between. I would hazard a guess that 80% of any given concert will be most comfortable with common practice music, and prefer it over 20th century / serial works. The problem is actually getting your music into concerts. You need contacts ideally with conductors for that, and you need credibility like a masters degree in composition or to be a prof at the music department.

imo a composition masterclass shouldn't have a standard audience, but an audience of your peers - fellow young composers.

The way we run them is one person has their piece played, then they sit in the hot seat and answer questions, and there's a general discussion about the piece, then the next person has their piece played, etc until the night is over. We do this over a week (while having composition seminars during the day) and then have a public concert on the last day, with some selected works.

Composition is a pretty personal thing, I wouldn't really want to be discussing it too in depth in front of a public audience. Its fine if the people listening are composers/performers/producers/audio engineers/music writers etc. but imo a public audience should be presented with polished works and if there is going to be an element of talking, it should be from a soloist or conductor directed at the audience, to help them appreciate a piece. I dont really think a masterclass should be a public spectacle. You learn much more in a quiet place with your tutor, and you dont have the stress or nerves of being in front of an audience when the quite personal elements of your performing or your composing are discussed.

>typed so much due to a simple misunderstanding
Sorry, didn't mean before an actual audience of concertgoers, just an audience of peers as you said.

>if there is going to be an element of talking, it should be from a soloist or conductor directed at the audience
>tfw managed to avoid speaking about my own pieces every semester at the composition concert, despite it being required

>Arvo Part and Schnittke would be my picks
Hi poly. What is your opinion on Schnittke's Psalms of Repentance

Are piano and electric guitar duos a thing? I imagine there should be a lot of jazz musicians who do that.

I figured since I play both electric guitar and piano, might as well write songs for them.

I can't think of any pieces for electric guitar + piano but go ahead. Seems like a good mixture if done right

usually there are drums and bass too, if we're talking jazz. You can go without the bass if you use the piano in it's place, though. I think there should be some form of percussion in there, at least, but that's more of a personal opinion of what sounds good.

You could totally write a jazz piece for guitar+piano

>l i t e r a l l y autistic
>bullied throughout school career, especially by band mates/band director, I was quite the airhead
>anxious, stupid, naive, basically wanted to learn trumpet and brass but too scared to stay in band and learn how to play
>high school, tell them I can play some jazz guitar and scales, director promises to write me music for marching band, month goes by, keeps saying "tomorrow", band mates use me as a lackey while the other first years look on and laugh
>eventually move away a month later, decide not to join the band, lots of life shit happens, homeless for some time
Now I'm 19 and I wish I had picked up theory. I'm a hack. I can only read guitar tabs. This is the worst feeling in the world.

I want to be able to play this in 3 years:
drive.google.com/folderview?id=0B8drXawOjAngNWNYZ2pnTUp3WHM&usp=sharing&tid=0B8drXawOjAngdVljQ2hKQXZSTzA

Where do I start? Style is classical guitar but I use an acoustic for now, can't afford to buy a guitar unless financial aid for school this fall covers it.

Are you literally me? The difference was that I was actually a good player in high school. I was far ahead of 90% of the band in terms of theory knowledge and the band teacher always put me off. I played some christmas songs at the Spring concert and that was it. Dude kept saying tomorrow every time.

We had jazz band for like 2 weeks until everyone left. I was always the only one cued for a solo and I played it right every time. Nobody else could improvise whatsoever. Pisses me the fuck off because the dude said he could get me into Berklee and here I am at some shit community college.

I have to ask this:

How high is your budget every month?
Do you WANT to play classical guitar or do you think you SHOULD be playing classical guitar?

I really don't want to be too harsh, but starting to play classical guitar at 19 is really late and maybe a tad too late if you want to become a professional.
If you just want to be able to play some pieces you can definitely still go for it.

How do I use broken chords? I usually end up with a weird series of parallel fifths or really muddy thirds. Should I use as many chord tones in the melody as I can, so I don't have to worry about having too many notes in the bass? Or should I invert chords more often to prevent strange harmonic motion?

That's really fucking shitty mate. Actually, you sound like me too, except with guitar. I was afraid of theory, but I could still play by ear. I learned fur elise by ear and my teacher let me play it at my eighth grade talent show. The band teacher finally caved and offered me a solo during the concert, but I broke two of my fingers right before the concert. They're fine now. But yeah, theory put me off.

I feel for the community college, but hey you can always apply to a four year. Hope it isn't too expensive for you..My former friend got into ivies from his community college but he busted his ass.

I'm a mental incompetent. I can barely go outside without freaking out. My medication doesn't let me drive, holding a job is impossible. I need special accomodations at school, and with some grant money I was hoping to get this:

musiciansfriend.com/guitars/kremona-soloist-s65c-classical-acoustic-guitar/j05984#productDetail

Good enough to last me for a while and be classified as educational expense, not priced high enough that I would have to use all of the money. Most of the money is needed for books, living, etc.

Oh no user, I want to. Should? For what reason? I want to be a composer, and play classical guitar, I want to write my own pieces. Guitar, I used to hate it, but I want to take it seriously now. I want to make music that will turn heads, I don't want a:
"thats nice"
any more.

I learned bachs first cello suite on my acoustic, right now I only remember the prelude and allemande, but god fucking damn did I rage when I realized my music just couldn't turn heads. I needed to be better, to understand the theory behind the music, to polish the execution so my music would become audible sex for normie ears.

same way as normal chords. why not arrange a progression of normal chords first, then break (as in arpeggiate, I assume) them?

Hey squadwurd, fart user here

I told the dept lead at the community college I can't use my wrists and he pretty much told me no four year will let me do composition if I can't sight read on keyboard

I'm scared

how bad are your wrists? can't you play at all? Or can you do simple things on the piano? Sightreading and wrists are imo not directly related unless you have to play difficult (as in physically challenging) stuff on the piano, such as Chopin Etudes.

>no four year will let me do composition if I can't sight read on keyboard
Lol I'm fucked too then. Fuck me for choosing guitar I guess.

W-why is this becoming a feels thread?

Anyway, forgot to reply yesterday. Yeah, I dropped out 2 years ago and haven't played piano that much, maybe sat down once a week and mostly just improvise, do some practices. I pretty much forgot to play everything, but I don't mind that because it was always completely normal for me. After the summer I would never be able to play pieces from a previous year at all, without some refreshment.

Yesterday I did one playthrough of Chopin's Scherzo no.2, and boy, I think it took me an hour to go through it. Beginning and some other parts stayed in my muscle memory, but I had to carefully read through the rest (and I was never a good sight reader).

All the way through, I was thinking about how fucking hard stuff I've always played, and why the fuck would anyone throw all that work away. Shit, my whole shitty college undergraduate program would probably be easier to pass than to learn another Scherzo. And I even spent a year in academy and dropped like a retard, because of a mixture of problems with theory, piano and yeah, my mentor also mentioned to me more than a few times that it would be better to drop out if I can't do it (while I was in a bad mental state at that time). Imagine fucking going from a perspective pianist with a lot of success to a fucking nobody that teachers make fun of because of a bad theory knowledge every week. It really fucked me up, I think I got a slight PTSP from those conversations.

I dropped piano and classical music a couple of years ago too, even rejected a music school. I just felt like it was a very risky path to take, I would never make it as a performer and I didn't want to teach for the rest of my life.

Also, I went to explore rock and metal music, picking up electric guitar. But due to a lack of band and having an urge to create music, recently I went back to piano, desperately trying to write pieces for it. I'm trying to write solo pieces for the electric too.. not sure how I'm going to approach that.

You want to write a solo piece for electric guitar?
What style do you have in mind?

So, after I came up with a litte organ prelude for the previous challenge, I decided to take its theme and make a chorale out of it, and would like your opinion. Also feel free to point out voicing mistakes like parallels and stuff if you find some.

vocaroo.com/i/s0w0KSlqsuNo

I'd probably try to make a fugue and toccata next, but not with this theme any more.

No idea, probably jazz and some pop-ish stuff. I have wrote one small little piece, but it's very very basic.

>tfw finally get the chance to practice my Latin again

Only took a glance over it, but voicing looks fine. Would add more fermatas though.

Not the best score to study, but you should get the idea:

imslp.nl/imglnks/usimg/2/2b/IMSLP238417-WIMA.1591-BWV040_BA7.394_105_freuet_euch_ihr_christen_alle.pdf

Looks and sounds pretty good user! nice work

good

>>two other cellists here
>>in response to "who's played an instrument but stopped"
desu i didn't really like music at the time

thanks for the feedback. The thing with fermatas in Bach's Cantatas is, that, since they're mostly original church songs, he places the fermatas wherever there's be a line break in the song, and the lines mostly had similar lengths (in your example every 2 bars)
As for the text used in my choral, it's not really a church song but just the Latin Hail Mary prayer, whose lines have lots of varying lengths, thus there'd be fermatas all over the place, sometimes in places where they'd break up the flow of the melody. That's why I'd rather just use long notes or rests instead of fermatas.

I like them. very interesting and effective choral writing.

Yeah there's no need to include fermatas when your score is written with the exact timing you want in mind. Your score already has the rests and longer notes built in. Its only if you want an ensemble to really stop at a certain point that you should use a fermata. Sometimes short fermatas can be fun to just "place" a note at the culmination of a melody or something. Can add a bit of feeling and make the arrival at a resolution have more impact

Going to perform my piece tomorrow.. Fuck it's been around 6 years since I played for an audience, man I'm kinda nervous now. How do you guys get over stage fright?

Anyway here's a piano improv, if you are wondering why the melody doesn't seem to go any higher, it's because my pinky doesn't reach that high.

clyp.it/3orj0omq

>How do you guys get over stage fright?

By performing more and after the performance going over things you did well and pointing out weaknesses of yours that occurred while playing.

Remember that it's okay to mess up sometimes and to push yourself to just keep playing.
The worst thing that happens is when performers stop playing because they made a mistake and then try to correct it afterwards.

Also if you are really nervous before your performance, take 5 minutes, sit down and just focus on your breathing. Take nice deep breaths and forget that you are playing in front of an audience and think of it more like an exercise to improve yourself.

Hope this helps you out and good luck.

good one. If you can, don't regard it as a bothersome duty, where you _have_ to go and entertain the crowd. Instead, tell yourself, that you're going to share something really nice with eveyone and that you're gonna finally be able to show off something you've spent time and effort to prepare.
Positive self-suggestion. Of course you'll always feel different from practice when performing, same here after twenty years of playing my instrument, but going with a positive mindset helps.

Alright, one short fermata before the amen, also changed the voicing before "mortis". Now there's a voice crossing between soprano and alto (soprano goes to a note lower than the previous alto note), which is forbidden, but in that context (death, and a christian prayer), a literall cross(ing) could be meaningful enough to tolerate the voicing mistake, I hope. Also corrected a parallel 8 that I had at "peccatoribus".

>How do you guys get over stage fright?
i don't. the time comes and it's time to walk out there. it's just playing, and judging by that clip you can play.

not to imply it's not scary, it is, there's just nothing to be done except not thinking about it

what happened to the weekly challenge? None today? what about last weeks results, have they already been compiled?

I'm going to post that later today. I'm also going to start compiling the pieces tomorrow and will probably finish on Saturday, so that's an extension if anyone's trying to finish. Later today I'll post everyone's music I've collected just to make sure I haven't missed anyones.

How does the result system work? Was there a poll or how are they measured?

it's not a contest, I'm just going to stick em together. I'll ask you guys for help on deciding the order

I'll begin making a fugue for organ these days, I'd try to make it about the beginning of the gregorian Ave Maria antiphon, although I'm sligthly concerned about it being authentic dorian mode, while I'd like to stick to A maj / F# min as key. Guess I'll just use F# min and treat the Dorian 6th as alteration.

btw, I'm not that fugue guy

good luck man. Good fugues dont come easy

How do you 'describe' chord progressions like this?

d - c# - d - f - d - c# - d - Ab

are lyrics considered /comp/?

How do you write great lyrics? Like what is the next step after lel last syllables rhyme

I'm trying to get better at writing lyrics too. Not sure if comp is the right place, but since there isn't a songwriting thread why not I guess. This sounds lame, but I would really recommend getting a book. I read writing better lyrics and was genuinely amazed by how much I picked up. I don't think I'm that much better yet, but I'm starting to analyze and break down what I like about lyrics in the songs I like, and I'm working on it.
So everything but Ab is a minor chord? In jazz we would call that a constant structure progression (mostly the same chord quality). youtube.com/watch?v=p99xxR_2FdY
It doesn't really fit in with typical jazz constant structure progressions, but you could describe it as a minor 2nd relationship with a minor 3rd link/bridge, with a tritone cadence to a major chord (breaking the constant structure)

Yes everything is a minor chord. I don't know, it sounds like it would be used in some death metal band or stuff, but I can't exactly describe how to write chord progressions that sound like this. Am I supposed to look at parallel harmony?

Great opera composers are able to capture the feeling of the vocalist/libretto in their music.
And so I think what makes lyrics truly stand out is how well the music accompanies/relates to them.

I know this doesn't answer your question "how do you write great lyrics?", but I just wanted to share my two cents and maybe give some ideas how to proceed.

No offense, but classical music for the guitar might not be your best option if you want to make music that turns heads, unless by 'making music' you mean focusing on flawless performance of music that people already love. Unlike some, I don't think you're too old for that.

Making it as a composer in classical music is extremely tough, specially without social skills, and even if you're the exception, the positive attention isn't great even for the best.

Just saying that it could be a fucked up path littered with frustration. If you ENJOY THE PROCESS, however, by all means, do it.

Hey can I get some advice? I'm not sure what to think of this. I'm not finished yet but I don't know man. It's not classical, it's more of a funk song I guess. But I don't want to post it in /prod/ because I dislike the musical taste usually prominent there. Any comments or thoughts would be appreciated.
clyp.it/bny2hxiq

Yeah, it could definitely be metal, but also easily jazz with 7th chords. When you're dealing with constant structure, you want to vary your root movement. Let's analyze the root movement in the progression you posted. It goes

(A) m2nd (B) m2nd (C) m3rd (D) m3rd (E) m2nd (F) m2nd (G) dim5th (H, major chord, constant structure broken).

The root motion is very predictable, even with the m3rds breaking it up (because it returns back D minor, it doesn't provide a huge amount of change), which is why it's really important to throw in that completely different root motion, the tritone. It's also important to maintain the constant minor structure until that point, to give that Ab more impact. Writing constant structure progression is a lot of trial and error, but focussing on keeping your root motion purposeful is what helps drive it forward. It's also important to consider your melodic possibilities when writing a chord progression. In the chord progression your posted, you're basically forced to use a pattern based/chromatic/less active melody between the d and c# chord, since your only common key tone is E. So if you wanted something more lyric, you'd have to reconsider.

I'm by no means an expert on funk music so I just want to know if it's a common thing that the brasses(?) play perfect fourths in the melody? It just sounds a bit strange to me.

just some of my old habits. personally i like it, especially when you stack sus chords. that semi-disonance feeling adds a lot of tension. it works in the pentonic scale too in way so, dont know, just grew on me

>I dislike the musical taste usually prominent there.
/prod/ guy here
Please don't hesitate to post things like that in /prod/ i can't bear more dancefloor bleeps and trap

I did. had no choice. as much as I like these threads they still dont have the community /prod/ has. maybe in a year we'll get the bar really rolling.

Well it's kind of Opeth sounding somehow, it's just the kind of chord progression that a guitar would play repeatedly.

Depends on what style of music you're writing. In art music the music tends to illustrate and serve the text (usually some sort of poem used without any changes), while in popular music the lyrics are mostly there to serve and guide the music.

I like what Loreena did to Tennyson's Lady of Shalott, though repetitive: youtube.com/watch?v=GJHA8uzvXS0

Not really my genre, so I don't really have an instinct on what this kind of music actually needs, but I find it incredibly repetitive, if that helps. Any kind of contrast would be nice.

'

>tfw sforzando

Your bass line is not really contributing to the overall groove, it grooves a lot more at that bit after 3:00. Some of the high bass notes you throw in randomly are really not working, they overlap too much with the rest of your groove. Your keys parts work very well together. When you try to increased the intensity towards the end of the song, I think you actually make it more boring. Doing things like laying down quarter notes in your bass part and adding more kick drum makes the groove more homogenous, and it's really not funky.

Your first melody is pretty lame. The inactive parts are boring, and the active parts (0:57 - 1:00) are really awkward rhythmically. Also the scale you're basing it on just doesn't seem to go with the overall feel of the piece. Your second melody works well, I dig it.

I definitely think it needs SOME more harmonic content. Just a short 4 bar sequence you can use a bridge every now and then, to break it up a little more and add to the intensity. You're trying to build the intensity in some spots, and there's only so much you can do with activity, and instruments' registers. Throwing in a different chord progression can really help.

Your sax solo needs some work. definitely needs a lot more places to breath, needs more rhythmic interest and rhythmic contrast. Definitely to look into changing up the notes you're playing too. I feel like the solo you had lasts about a bar and then just repeats what you had. Start off slower, so you can build.

Answered you in prod to get you some attention

I like the groove, but you need to change it up a bit sometimes. It's nice to be consistent, but it gets boring after a while. Definitely a good idea to add another groove with the bass and other rhythm instruments, specially when you change sections (e.g. after a solo).

Other anons also commented on the harmony. I don't have a good ear for that, but it does sound different from the usual dominant 7th chords we heard all the time. Keep it if you want or change it. It's up to you.

>tfw you find a finale file you wrote three years ago with Fb as the key signature and misspellings everywhere.
dude double flats lmao

>with Fb as the key signature
>why.musx

>tfw you go to your parents' place and search around on your old computer with 7 year old pirated sibelius files and there's an accompaniment part that is just 8th notes alternating between E and D double sharp in C major

I don't know...

Actually, I think it would be a good start to compose to already existing /lit/ like poems.

Maybe if we can do a collaboration or a challenge for one week with /lit/ where we give them /comp/s for writing and they give us poems or somethings

Was supposed to me some kind of "mental" etude if I remember correctly. Also I did weird shit with keys back then. I have an unfinished piece with flats on B, A and D and another one with one sharp on A.

Let's just say I was way into Bartok

>Ex
Fucking kek

>/lit/ poems
Haha oh boy. Some of those are the worst things I've ever read in my life. Some are pretty good too, might end up being an interesting challenge. Problem is you would really need to get a singer, and I'm sure everyone here is too much of a loser to get that done.

well, at least flats on B, A and D is just C phrygian dominant, or something else depending on your tonal center. Or like strict F harmonic minor

It was Ionian Augmented. Mode 3 of Harmonic Minor. I was a memer

the truest memes are modes of harmonic major

>improvising with only certain pitch classes available
Some of the most fun I've had improvising. Currently doing D, D#, G#, and A
The best thing about it is testing your melodic skills. (Either that or coming up with an accompaniment figure that somehow isn't ostinato of some sort)

Does the content of your current chord change what notes you put in the melody?

Anyway, why the fuck do I keep starting new ones instead of improving old ones
clyp.it/wewzrmxp
clyp.it/wewzrmxp

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Why?