"Artists like Bach and Beethoven erected churches and temples on the heights. I only wanted... to build dwellings for men in which they might feel happy and at home." - Edvard Grieg
user is actually writing multiple movements, the absolute madman Edition
previous thread: An experiment in a pen-and-paper composing general, made for all the theory autists
Post clyps and accompanying notation so we can accurately critique your composing from a theory perspective
it's not so much about caring, it's just that I don't think there's much point. It's like hearing classical people talk jazz or vice versa (if they have no experience) I'd rather just appreciate it in my own contexts
Easton Foster
bump
Gavin Walker
tfw every time new comp thread it dies after 5 posts
Tyler Ward
it's just late
Xavier Ward
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Easton Ramirez
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Owen Smith
I mean, I certainly enjoy music better once I've ascertained what qualities are common about it and how it does those things differently
Joshua Ortiz
I meant in traditional Chinese music, all instruments are fairly high pitched, barely anything lower than alto range.
Camden Parker
There's got to be a better way to notate this. Surely! I mean... You do it this way, and you've got it looking like 4 independent polyrhythmic voices, which is silly since it's just an arpeggiated chord, but if you do it as a single voice with a pedal (like pic below) then you have to notate the barline-crossing (where the pedal has to be released so that the bass notes don't clash) as an ugly stacked thing.
And then there's the problem that I'm likely going to weave a melody in and around that arpeggio, so either I'm going to have to have more than 2 voices per staff, or else I'm going to have to play a melody with the sustain pedal held down the entire time.
Wat do? Is there some kind of cross-staff wizardy or something like it which will make this as simple to read and parse as it is to play?
Ryan Ortiz
Bump
Blake Fisher
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Sebastian Gutierrez
Don't note syncopated quavers. Whenever a quavers crosses a beat, note it as 2 tied eights
Easton Wilson
Then you get this horrible mess.
Eli Johnson
Looks okay both alto and tenor have visibly the same pattern, that are shifted.
Ryder Hall
Surely the best solution is something like this. The problem here is that I want the chord sustained with your fingers as though you'd depressed the middle pedal after playing the first four notes (such that other notes I add as a melody are not sustained), but it needs to be done with the fingers rather than the pedal (since some of the melody notes will come before you've depressed all four notes, and since I want the top note sustained untill the top note of the next chord - so that it bleeds into it a little).
How would I notate that without a million hideous ties?
Josiah Ward
What are some alternatives for the "resolution" of a 9th chord?
Don't want to play (for example): C9 - F
John Harris
Notate the first bar with ties, then the rest as in your pic and write "simile".
Dylan Allen
usually it's better to think of it as "what are some alternate approaches to this resolution that I want?", but dominant chords can pretty nicely resolve down a half step, up a maj2nd, down a major 3rd. They can also nicely resolve to substitutions of I, so instead of F, D minor, A minor, B half diminished, F minor,
Dylan Evans
>but dominant chords can pretty nicely resolve down a half step, up a maj2nd, down a major 3rd
That's something to keep in mind. Thanks
Hudson Cruz
>Notate the first bar with ties, then the rest as in your pic and write "simile".
Have you got a notation software and a second to show me what you mean?
Xavier Murphy
Gimme 40 mins to get home.
Camden Kelly
Cheers user!
Benjamin Johnson
How do I get into learning more about composition and all this shit, do the links in the OP cover most of it, at least enough to get me started?
what exactly? the basic concept? or how to make your own?
Adam Flores
I cannot put the rules to use. It just sounds like shit when I do.
The Fux book just came in the mail yesterday though so maybe that's the issue. Will it come in time?
Anthony Scott
The first couple of links will get you the basics of music theory. Composing is another beast altogether, and your best tactic where it is concerned is to analyse what things you like in the music you like, copy them, and recontextualise them.
Parker Perez
Thank you, user! That works spendidly.
One question: Once I've established this ostinato, and marked that it's to be coninued with a 'simile', do I only have to remark it after a double barline?
What about if I change it or add to it later on in the piece? Can I for instance do something like this?
Also, how are you getting your minims to overlap like that? I can't get Sibelius to do it.
Dominic Peterson
not that guy but >remarking remark after you break the ostinato with something else. If this pattern is happening before and after the double barline, I see no reason to remark it >minim overlapping in sibelius you'll need to manually put in a specific note head
Luis Taylor
Select the eigths note head, ctrl shift h to hide it, then select the minim, ctrl shift i, set x offset to zero. Also, try to use this notation to make the durations really clear.
Whenever you break that ostinato, and resume it later on, you'll have to copy paste that first bar, I'm afraid
Julian Thomas
Every time I break the ostinato? Even if I'm just changing one note? Even if the rhythm doesn't change? Ugh. Well that's not going to work for me at all then! The notation will be no less illegibly ugly than before in that case!
When I hide the quaver, it's beam also vanishes. Also Ctrl Shift i does nothing. It's Sibelus 7 on a mac btw.
Bentley Baker
By breaking the ostinato I mean that you do something completely different. Like lots of chords. Or a solo melody. If the pattern stays the same, the simile covers it all.
Ctrl shift i is supposed to open the inspector, but you can do it with a right click on the note too.
Asher Price
>By breaking the ostinato I mean that you do something completely different. Like lots of chords. Or a solo melody. If the pattern stays the same, the simile covers it all.
So, the way I notated it is fine, other than the overlapping issues?
>Ctrl shift i is supposed to open the inspector, but you can do it with a right click on the note too.
Ah, Command-Shift i for me.
So, when I do that, the inspector says it's got 0 offset already, and when I hide the note, it also hides the stem and beam
Wyatt Morales
Yep, your notation works, but use the correct minims, see .
Also, hiding the note with cmd shift h was the wrong move. Instead, you have to change the note head type to hidden. Also, flip the stem direction of that first minim downwards via the inspector.
Eli Wood
Yeah, it just wouldn't show them underneath the quavers. Changing the notehead type to hidden has worked a treat. Thanks!
Jacob Morris
Grats. I like to compose with sibelius but do the final notation with lilypond
Justin Butler
I've wanted to make the move across to Lilypond for a while now, but I'm much too intimidated by it's text-based interface. Also, I really don't need "oh, I just have to perfect the typesetting first" as yet another excuse to procrastinate and be unproductive with my composing.
Isaiah Bennett
I've used comp as an excuse to get into lilypond. If you use a front end like frescobaldi, its auto completion will prove helpful. Learning by doing was more fun than I expected, since I was able to cope with any obscure situation I encountered so far without resorting to "shady" methods like with your ostinato.
Brayden Price
Hmmm. Maybe I'll look into it once the holidays start then. I *do* like the look of the scores I've seen produced in it, and I *have* had to struggle through workarounds for polymetric notation in Sibelius on many previous occasions.
Josiah Jackson
bhmp
Nathan Turner
what's a good website/youtube channel/book where i can learn how to play keyboard? preferably not a book
Colton Richardson
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Kayden Sanders
>Improvised my first fugue I use "Improvised" in the loosest possible way ... just made it up while playing instead of just improvising the subject only. Essentially I only improvised the answer (tonal answer) before returning to writing normally (at the DAW)
Definitely not 12TET, but I haven't been able to nail it down exactly
Jack Wright
anhemitonic pentatonic tbqh familia
Jonathan Brooks
c major
Ryder Nelson
does that specifically refer to C D E G A or can it refer to stuff like C D E G# A#
Bentley Howard
I suppose that could also refer to the latter, but the latter is really a whole-tone scale without the F#.
Jayden Kelly
yeah but all anhemitonic pentatonic scales can be described as incompletes
Levi Evans
Of diatonic scales, which all have at least one possible perfect fourth/fifth interval.
Jaxon Richardson
This one I invented two threads ago
Ethan Adams
taking another area of theory and misapplying it is not inventing it
James Cooper
OKAY GUYS, this is something im kind weary of showing others but its something that I've worked on for a few months.
THis was inspired by sleep paralysis and the hallucinations that can occur. I wanted to title it "ayy lmao" since its funny to me that my sleep paralysis expirecnes are always of grey aliens, enjoy!
(warning it is very fucking weird and with no central tonality) (fun fact: I cut my pinky comprising this because 4th finger jumps and the nail caught my pink)
