It's pretty fun senpai but it could use some extension and perhaps a clearer canon. It did not feel like a canon and more like a short SATB arrangement.
William Bell
got my viola partita recorded properly the other day:
Hope you like it, feedback would be much appreciated
Joseph Bailey
bad.
Although a lot of it is the laggy media
Camden Sanchez
Can you play this? The sonata is pretty well composed and put together. Well done my friend.
Easton Myers
I can't. I can imagine that it would be very challenging and not very ''practical'' on the fingers.
Thank you, it means a lot user
Mason Jackson
Well that's great, and always make sure you express yourself, but remember that the #1 job of the working composer is the feasibility of their music. If it's impossible to play or reproduce - no one will do it.
Kevin Watson
I disagree. By now with increasingly sophisticated methods we can render something more or less fully acoustic sounding with technology and no need for human players. For mere hobbyists this is a godsend that past composition enthusiasts who never had inroads into the system could only dream of. ergonomics of performance are a relic from the past desu.
Andrew Hernandez
That's not what I mean. Compositions are still being performed. This is the primary way in which a composition survives and which a composer seeks (to have his music listened to). Recordings do exist and allow an exact replication of the music every time, but I do think that at the heart of it all lies the performance. This is still the main blood of classical music. No one listens to recorded music live more than once.
Landon Young
This user does have a point. Very few musicians, especially composers, get noticed by releasing recordings. Small time gigs and shows are how most bands start out, and university performances and the like are how composers start out nowadays.
Luis Diaz
I am saying that most people who will take an interest in composition will never see their music performed anyway and moreover they should be okay with it because the real reward is in the thrill of the hunt in rendering an external simulacrum.
Xavier Diaz
Actually I would argue otherwise. I think most composers /do/ have their pieces performed, or they perform them themselves. If you seek it, it will come. I don't disagree that one should compose for the sake of it, but you must understand that when the will is strong enough, performance is the next logical step. Besides, it's incredibly fun.
Jason Bailey
yeah most "composers" do. Not most hobbyists or casual enthusiasts. I dont become designated as an artist if I start drawing mangos.
Adam Allen
There are communities online you can ask, and fellow hobbyist instrumentalists do like new shit to play.
Michael Peterson
>I can imagine that it would be very challenging and not very ''practical'' on the fingers. Of course, you choose the hardest key to play in and the easiest to compose in. Sasuga, Sup Forums. ...but, I guess it's pretty nice; good job following through and finishing it.
Camden Perez
>hardest key to play How is A minor hard to play on the piano? It's probably the easiest key together with C major, having no black keys.
Am I missing something?
Josiah Gomez
>Stuck figuring out how to move into the next part of my piece The hard part is that I wasn't following any particular rules so I'm going by very loose guidelines. And now I can't figure out how to continue the fucking piece.
Can you post the full score? A link to musescore or whatever.
Henry Edwards
The black keys make for much much much easier targets -- it's not even a contest; C major/a minor is the hardest key to play high level pieces in by far.
Levi Carter
> play high level pieces in by far. That may be why I don't see it. I'm intermediate at best, and C/a are the easiest for me.
Jason Robinson
Well done, this is very good. I was in a cynical mood and hoped it'd be shit to make myself feel better, but I enjoyed the piece a lot. Keep up the good work. Do you have formal training? What program do you use to compose?
Jaxon Taylor
Basically, when you're playing runs so quick they must be done by muscle memory, your hands can more easily tell where they are subconsciously if they have memorable shapes like the black keys to tell them where to go.
Anthony Lopez
Bumping one last time before bed.
Brandon Lewis
Does anyone else use Finale Songwriter? I've been using it for years. Anyway I tried discussing Finale in /prod/ and was told to go here.
Redpill me on Finale. I've been using soundfonts but I don't know if Ableton is a good next step to make more professional sounds, or what?
Dominic Brown
Finale is fucking buggy as shit, and the latest one inexplicably auto-deletes its autosaves seven seconds after crashing.
That said, so long as you make sure to save very often, it's very good at creating quality scores, it's quicker than jotting down ideas on paper once you've mastered speedy entry, and the Human Playback, once you've learned what little details make it tick, is just out of this world. I mean it has options like Baroque, Romantic, Jazz, Latin etc. Of course, it's no substitute for actual instruments, no scorewriting program is.
some improvs. if someone could tell me where i'm at or what i should work on that would be good. i'm kind of in a vacuum regarding where i'm currently at or if i should continue this. i thought about pursuing some kind of musical education but i have no idea where to start.
wouldn't be out of place in a god speed you black emperor track with some old recording of some guy talking about dying crops playing over it.
Anthony Reed
>clyp.it/doirsjjb Your ideas are all over the place. >french impressionism >americana with a touch of jazz >reminds me of chopin/early scriabin >almost a continuous of the above but with more french influence >anime/video game sound track >anime soundtrack with a touch of jazz >jazzy -- weird >slow jam >classical >scriabin (late) >boring idea >nice light french influence >cheesy soundtrack >playful
I could see you working on soundtracks if you really wanted to. What are you looking for -- do you have anything in mind?
Also, do you have any pieces that you would call complete, or are they just little ideas like what you posted?
Either way, I hope you at least keep playing; it sounds like you know what you're doing
Anthony Baker
Fuck you man I'd you're going to call my work cheesy then don't respond
Brayden White
Dude, don't post it if you get this upset at light criticism. He even threw in a "Either way, I hope you at least keep playing; it sounds like you know what you're doing" there.
Jace Mitchell
...that's what you took away from my post?
I feel like the guy above has to be trolling and wasn't the one who posted the tracks -- note the lack of capitalization in the original post.
Aiden Diaz
I've dealt with people like him all my life they think insulting you baselessly and then putting a cherry on the turd they smeared in your face makes it ok
Oliver Allen
this guy
isn't me. not sure who he was responding to. anyway i have no idea what i want to do. i've never finished a piece because i usually lose interest in the progression of it. i need to connect with it in some way to finish it. for now i'm just stock piling these types of micro pieces until eventually i feel like finishing one. i cant read music so notation isn't really possible. currently im frustrated that im having difficulty with baroque style keyboard music because that's something i've always wanted to create.
Lucas King
im not sure why someone would put any effort into impersonating someone in a thread like this. but yea that wasn't me.
Benjamin Lopez
Don't try to back out of what you wrote -- if you can't take criticism, don't post.
Grayson Clark
>ywn be as good as J.S. Bach
Jacob Garcia
>baroque style keyboard music In that case, reading about music theory and taking classes will definitely help you. It's been a long time since I've played Baroque music, but I remember it be extremely formulaic. Once you understand the general foundation, you'll be able to crank out the pieces you've been dreaming of.
Finishing a piece is another thing that will require practice. Short rough ideas are pretty easy, but tying everything together makes things so much harder -- I can't finish anything either.
Good luck.
Jayden Collins
samefag
Lucas Cox
why even put effort into being this unconstructive. are you really that bored?
James Howard
>ergonomics of performance are a relic from the past desu. only if you never want to have anything played by a real performer, or if you only ever work as a producer - with the finished product being a recording instead of a score.
Classical is all about the written score and the performer. If you're not taking advantage of the nuances and fresh perspectives you get from working with a real performer, you're closer to a producer than a composer.
There are of course guys like Ferneyhough who make things very difficult to play, but they understand what's possible to play extremely well, they know their shit and how to push players to get very interesting performances.
If you dont know your shit and are just writing whatever sounds good to you without care for playability or ever working with a real performer, you're missing out some of the joys of classical music - creating something that performers enjoy playing and want to play again.
how can someone without a music degree give a masterclass on film scoring? He knows how to score films averagely - nothing special, but I wouldn't consider him a "master" If John Williams or Jerry Goldsmith (rip) was giving a masterclass, I'd be very interested. Even Bear McCreary would be interesting to have a masterclass with. At least Bear knows his shit, and almost exclusively works with real instruments.
Liam Murphy
Bach can be learned. Learn how he creates his melodies, learn how he creates his counterpoint, learn his harmonies. You can get very close with careful study and lots of practice.
Jeremiah Moore
from what i can hear the basics of barque music almost seems mathematical. as for finishing anything i have a dread of something becoming boring. almost like if i can't keep an audience invested in an idea past its initial phase it would invalidate the entire piece so i'm too scared to do anything further in case i "ruin" the idea. i seem to be completely dependent on the mood i'm in so i can't just play whatever whenever which is pretty frustrating.
Landon Bennett
bump
Evan Collins
i foresee an early death for this thread
Jackson Clark
time marker on the Scriabin thingy? I like Scriabin
Brandon Jones
Dude that is WAY too fast, plus you don't give any time for any emotion to really set in. You can't even get a real good sense of tonality because it's so fast. Slow it down, by a lot. That would really contribute to the piece's beauty.
Colton Phillips
Late Scriabin? Around 5:50 at the lowest point before the largest peak.
Austin Lopez
I never said I would be writing merely "whatever sounds good". I'm more interested in composition as a curative process. I am not that autistic about music, I definitely have an emotional connection but ultimtely what draws me to composition is sort of the concept of solving a puzzle by plugging in the right notes, rhythms, timbres and other sonic elements. In fact only when I began to understand the harmonic series did composing seem viable for me because prior to that I was intimidated by the vision of the composer as the virtuoso artist waving his brush around and producing beauty by mere accident. Now, even insofar as that conception may have a strain of truth, I realize there is another approach that can allow someone like myself to make music desspite having no solid background. Ultimately I suppose "ease of play" could be another parameter to "curate" around but it just doesn't interest me, particularly as someone who has no pretentions of having anything performed.
Eli Cook
personally I would regard inability to flesh out melodic ideas into full pieces as a rather severe shortfall I would be working on big league if I were you. I only mention this because I keep seeing you post this collection and you seem to be complacent. But dicking around on a keyboard in not composition ultimately, even if it sounds nice. There's hard work too.
Joseph Gray
If you're not interested in someone performing your stuff, why bother with all of the typical constraints of composing for an instrumentalist? Why not take the plunge into weirder shit? xenharmonic.wikispaces.com/
Isaac Lewis
Actually I want to get into microtonality but I am still learning to crawl so I think the good ol' chromatic scale will suffice for the time being.
Daniel Hernandez
Thanks user, i just like A minor i can try I have been trained a little by a professional composer. Mostly i use my ear to compose. I will try this, thanks
Christopher Rogers
Can you use any two melodies in conterpoint?
Daniel Smith
hell no. The intervals between the notes have to be consonant or carefully handled dissonance.
Read Fux or check out the "art of counterpoint" channel on youtube.
Bentley Long
Bach literally told everyone how he did it. He literally never stopped working or making music. If you can do that - congrats, you're the next Bach.
The man was one of those prime working Austrians - all they know how to do is work.
Lincoln Jackson
I have been thinking about it.. did pianist like Barry Harris, Bill Evans, Bub Powell.. basically any of the greats, before recording a solo piano rendition of a jazz standard, do they plan before hand what they are going to play, or at least practices the song multiple times before hand or did they literally just press record and go?
Because if it's the latter than.. woah man. How can one be so well versed in harmony? I have to practice a tune multiple times, get the harmony right, the changes.. before I actually think about recording myself.
Owen Turner
reminder that jazz theory is the only kind of theory that's actually useful
they didn't "plan" what they were doing; they knew they were going to play a basic chord progression and maybe a central melody. Most jazz standards are characterized by one chorus,, with it's progression and melody. Beyond that, it's improvisation. At the simplest level, extending chords and varying the melody is fine.
Kayden Garcia
yeah? since you have it all figured out why aren't you a world famous jazz musician?
Josiah Torres
But user, I am a world famous jazz musician.
Charles Ortiz
>Hans Zimmer >average
have you never seen Rain Man or any of the Nolans Batman movies?
Connor Cooper
Opinions are subjective. Moreover, I'm not really fond of the "how can someone without a music degree give a masterclass" part either.
Jeremiah Wood
holy crap it's still alive.
Thomas Wright
>wrote a piece for the sonatina challenge in the summer >play it from memory periodically >look at its score >dynamics completely different from how I've been playing it Should I rewrite the dynamics? Or should I respect the composer's intent?
Lucas Edwards
honestly i haven't touched my keyboard in about 6 months and i forgot i may have posted this here. i think it caught me off guard that people seemed to enjoy anything i made and that was enough for me. i'm at a point in my life where i don't enjoy anything and i can't even remember what i did this year. time is just passing in bulk and i don't care to even bother anymore. i know i'm wasting a lot of time but i feel like regardless of what i do the outcome will be the same.
Isaac Hall
You wrote it right? Rewrite it, call it 2nd edition. Then if you become a big deal people will kill for your first version.
Logan Martin
I'm not really sure which one I prefer, though.
If I posted it here without markings, do you think I could get someone more experienced on piano to tell me their opinion of it? It's fairly simplistic of a piece.
Brayden Murphy
always post your work
also, is it in the Drive folder of all the submissions?
Henry Ward
Ah, yes it is. It's got some errata though
I think I might rerecord and post a better unmarked score once I'm done eating
Christian Price
How do I stop my fingers from tripping over themselves in fast piano pieces?
I mean at the point where you already learned the piece and you play it by muscle memory, but your fingers simply aren't dexterous enough and fuck up at parts.
It doesn't feel like restudying the piece helps. I'm talking about intermediate level, like say Mozart's Rondo alla Turca from his Piano Sonata 11. At 1:10. youtu.be/geER3iQDO5k?t=71 Though in this video the speed is at the limit where I can still play it, but if I go even a bit faster that's when I fuck up. It tends to happen when the speed is continuous, like that fragment where it's full of 16ths, while if I only have to deal with 4-8 16ths I can handle it.
Is grinding technique with Hanon and similar shit the only way?
Y-you too.
Mason Mitchell
Pretty much. Fingering is key my friend. Try to never touch black keys with your thumb, that's rule no.1.
Elijah Miller
These are the works posted ITT. Good job /comp/
[spoiler]*sforzandos*[/spoiler]
Connor Richardson
I was hoping against logic that there would be another way. It's boring as fuck but it's such a big limitation, very early on, that I can't find a way around it.
Time to dust off that old book. I only got as far as exercise 16.
Jacob Garcia
>personally I would regard inability to flesh out melodic ideas into full pieces as a rather severe shortfall I would be working on big league if I were you. Not him but any tips other than practice (which I'm already working on, though I'm slow as fuck)?
Isaiah Ramirez
before I go on reading into it do any of you have any tips on writing counterpoint?
Camden Hall
>boring as fuck
that's your problem. love your piano, respect it. treat it as you would want someone to treat you. i'm not joking.
Dylan Watson
I dont get it if you wrote it why does it matter
Zachary Hill
Practice it. Always. Make arrangements and write counterpoint every day. It's the only way.
Asher Reed
I guess. I just tend to avoid it because it always sounds conflicting
Jayden Phillips
I like it, I love the feeling of the weight of the keys under my fingers and the different sound that different velocity generates.
But practicing technique is not exactly a fun thing to do, user.
I'll try to do something about my state of mind regarding technique practice, and see if I can make it more rewarding. Maybe make it a game where my fingers should not touch anything else by accident, other than the key it means to touch.
Evan Parker
clyp.it/fnvokcbt Here we go, I rerecorded it. Still has mistakes, pretty big ones, but fewer this time. So yeah, could someone with more experience on the piano tell me how they'd play this? Like with what dynamics or expressions where and such.
I'm an indecisive fuck who'll spend hours agonizing over a single forte.
Luis Gutierrez
Just a heads up - practically your tempo marking of QN=85, then QN=70 does not need to be this exact. Most people will not find that big of a difference in between, say 82 and 85. I only say this due to the fact that when you present this to a player, the most practical tempos matter the most.
>I'm an indecisive fuck who'll spend hours agonizing over a single forte.
Stop it.
Michael Kelly
There's a much bigger difference between QN=85 vs QN=70 when the primary note value is a sixteenth note, though. But yeah, I think I'll probably omit the metronome markings and only write "Moderato" and "Adagio" in the final. Those are mostly there to persuade Finale's Human Playback to do what I want it to do.
And yeah, I know.
Sebastian Thompson
I'm writing this piece for a school assignment. I have a group of people and we're gonna have to play whatever I write. I'm playing trombone.
Kinda have some idea of what I'm doing, but I also don't really know where I'm going.
