What streams have there been? Please check the YT channel to see what streams might be missing, and if there are any, email the video to [email protected] and I will upload it
The Drive has been updated!
Now accepting submissions for challenge 6!!! Post finished versions!!
Jayden Bailey
yes triple hitler.
Here's the stream about Basso continuo and figured bass:
What are all the hearable variable elements of a motif? Rhythm is one, melodic intervals another, but I need a more comprehensive list.
By "variable elements" I mean, literally, elements that you can vary. Everything about the motif that you can manipulate to create motif-variations. By "hearable" I mean that the resulting motif-variation can be heard and recognized as deriving from the original.
I'm doing some pseudo-intellectual bullshit again, this time with graphic notation. Don't worry, I'll get /sci/'s (possibly /ic/'s or /gd/'s?) help for all the non-musical things, I won't shit up /comp/ with those this time. But I need a greater understanding of motifs and motif development for this, and even the Schoenberg text in the pasta, helpful as it is, isn't cutting it.
Carson Parker
Well a motif is just a collection of notes so in order to change the motif you would have to changes the notes duration, pitch, dynamics, or timbre (harmonic spectrum, waveform)
Ethan Powell
what does the highlight mean
Jackson Turner
oh, that's just some corrections I made after receiving feedback
Jose Gray
>duration right, yeah
>dynamics or timbre huh, never gave it much thought but that is a kind of variation, isn't it. A motif played loudly on a trombone and the same motif played in quiet pizzicato, they're variations of each other. Hadn't considered this, thanks.
>pitch this seems correct but oversimplified. Like take the famous motif of Beethoven's Fifth for example. >G G G Eb if you change the pitch of the second note so that it's >G C G Eb It's very difficult to call that a variation of the original. I mean it could be used like that if you give it the right context, but the most salient feature of the original has disappeared. Meanwhile if you vary it by changing it to >G G G D it's obviously based on the original motif, less so than the diatonic transposition F F F D like in the original but it's still there.
Perhaps the repetition of notes might be one of those variable elements, then? These variable elements might even differ depending on the motif.
Isaac Carter
some composers like xenakis, scelsi. i want some unknown or living composers.
for example:
harley gaber
he's really dark. scelsi+feldman? not famous. he commited suicide in 2011. RIP.
I Saw My Mother Ascending Mount Fuji
this album combines modern classical + electronic drone.
Richard Barrett
one of my favorite composers. he's similar to xenakis.
michael levinas is also good.
do you know any other? recommend me
Xavier Smith
Interesting post but my phone is dying
Thomas Reyes
and so is the thread
Evan Green
petzold
Wyatt Perry
Are there any more theoretical resources on improvisation?
I'm . Trying to create a system of graphic notation to "compose" my improvisations, which are very focused on motivic development more than anything else. What I'm going for is something I can read and follow along in improvising, so it's as though I'm improvising it again (but not as though I'm performing exactly what I improvised). Essentially what I'm going for is a fake book with motivic development rather than a harmonic progression.
What I'm having trouble with is figuring out where "structuring my improv" ends and "just plain composition" begins.
Christian Perry
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Charles Fisher
I only found out Leonard Bernstein was gay about an hour ago. Write a rondo about that.
Jackson Phillips
is it possible to make a song that's truly atonal without it sounding like shit? the closest I can think of is drone/ambient music
Connor Garcia
its got fedora written all over it
Chase Mitchell
Define "truly atonal". Define "sounding like shit". Depending on your answers I've got plenty of listening material for you.
>drone/ambient music I'm not too familiar with much of anything non-classical, but I don't really think those would count as atonal.
Nolan Ross
What on Earth are you talking about?
Jason Torres
drone music is almost by definition incredibly tonal
Dylan Wright
freejazz, stockhausen shit
Parker Baker
I'm working on my first piano sonata for a friend who's a pianist and he wants me to compose something extremely hard for him to play. I find it hard to make something that is both challenging and not derivative. Should I settle on the difficulty so I can make something more original?
>I find it hard to make something that is both challenging and not derivative. I kind of get what you mean, but could you elaborate.
Alexander Sanchez
*?
Benjamin Scott
like I'm not used to composing something with virtuoso qualities so while I manage to make something hard, the outcome is really plain and probably overdone or accidentally stolen from something I've been listening to. My pianist friend said he would be kinda disappointed if it wasn't as hard as a fast chopin etude. Any tips for virtuosic composing maybe?
I keep sitting down with the ideas for this piece and I find I like it best when its a moderate tempo and difficulty
Isaiah Davis
lots of figurations, octave runs etc.
I'd start with just setting on a melody, and then ornate it using above means.
Liszt's b minor sonata gives a few pointers on how to be not trivial and technically demanding at the same time.
Jack Nelson
also this, someone posted this link last thread but didn't provide a key.
Jaxon Thomas
it's for two pianos, but this could give you some ideas, the way Stravinsky replicates the effects of the full orchestra version in the pianos. youtube.com/watch?v=XpSaZ3A5Kj8
Incidentally, >My pianist friend said he would be kinda disappointed if it wasn't as hard as a fast chopin etude You could totally write an adagio piece that's easy to play but difficult to play perfectly. It's probably different with the piano, but at least for the cello there are plenty of beautiful, slow pieces that are easy to play and difficult to play well, things like youtube.com/watch?v=6rrkae_ok8Y I know I was always annoyed when the really difficult piece my private teacher picked out just for me was this kind of piece, though, and not something exciting (and easy) like a fast etude.
Does he have a piano? Or a digital piano?
James Cruz
How do you write etudes to teach yourself piano technique?
Juan Diaz
My friend has both a real piano and digital (as do I). He is a talented pianist and said he was looking for something to learn and I said I would compose something for him.
I'm going to go through all those examples you gave tonight. They look helpful, thanks. I don't believe what you are describing for cello would work with piano since producing sound only involves pressing down the keys but I'm sure there are really hard slow pieces on piano.
Christopher Perry
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Leo Cruz
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James White
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Josiah Powell
Check out pic related. Schoenberg is a master. Webern is also excellent
Jose Stewart
Pic related is great, I prefer David Wilson-Johnson as narrator though. I mean he doesn't have the accent needed for it but his expression is excellent.
>Webern is also excellent Uh, have any recs? Honestly of the second Viennese school I like Webern the least. His stuff is just too academic for me.
William Taylor
I'll try to have this streamable by sunday.
If anyone has advice on how to get a rhythm right despite thick rubato, let me know.
Ryan Jenkins
five pieces for large orchestra, or six pieces for orchestra.
Man they were really creative with their names
Andrew Gomez
>Five pieces for orchestra It was pretty interesting, and Webern's melodic lines are unmistakably Webern's.
I dunno, though, I'm just some entry level faggot who prefers stuff like youtube.com/watch?v=GU_HIvMXSM8 and Schoenberg's librettos.
Carter Ward
>Petzold autist discovered /Comp/ >tfw
Chase Ramirez
Yeah. He and Copland were gay for each other.
Ian Martin
>since producing sound only involves pressing down the keys Ah, that's a common misconception actually. With the cello how you wield the bow is absolutely integral to it sounding not like shit, so color and expression is naturally learned over time. With the piano you can press a button and have a perfectly satisfactory C, so many self-taught pianists don't even realize all the expressive control they have. It's all to do with the angle, momentum and speed of the key strike, the speed of the finger leaving the key and when that happens in relation to the next note, and the coordination of the pedal in all of this. There's not much control of the note while it's being held, of course, but that's not much of an issue for a harmonic instrument.
If you have pianos why not try out a few 20th century techniques? I mean not necessarily prepared piano if you don't want to mess with the piano too much, maybe simple things like depressing a key or several keys so that those strings sympathetically vibrate when an overtone of theirs is played, creating a unique echo effect.
Speaking of Bernstein youtube.com/watch?v=IpROC4gsZhQ We need to do some sort of challenge based on the third movement some day
Sebastian Murphy
Burp
Wyatt Garcia
the same way you write physics textbooks to teach yourself physics. Etudes are almost always designed around specific areas of focus, if you don't know how to play piano you won't know what these are.
Matthew Clark
Why is F#minor chord related to A minor key?
Ryan Taylor
modal interchange from parallel major? It depends on the context of the piece
Jayden Nguyen
Don't know the context, but I've seen a video of a guy playing around between the key of F#m and A minor
Carter James
it could be constant structure, or chromatic mediant, or modulation, or modal interchange, and the video of the guy playing around would be the context.
Adrian Reed
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Blake Reed
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Alexander Brooks
So, I have musical phrase that repeats twice, but the second one is different in the 4th measure til the end. Is it the same phrase or would it be another one?
Hudson Collins
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Joshua Ward
Sounds like a parallel period (depending on the cadences) to me. In this case yeah, you would call the first phrase A and the second phrase A'.
