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Showing content with the highest reputation on 08/20/2020 in all areas

  1. The B section of this minuet only repeats 4 bars of A rather than the whole 8 bars which is common in short keyboard minuets of the galant style.
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  2. For what it's worth, I think "Sinfonietta" is a perfectly fine title for this piece. Before listening, the first thing I thought of was the Janacek Sinfonietta, which is anything but light in nature.
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  3. That's nice feedback, I'll add it to the list when I get back to it. I'm glad it made you think of FF, though I haven't played that series. I made it in Reason with a lot of trial end error in composition since I was (am) a noob. For the next projects I'll just decide on a key and stick to the diatonic chords mostly, I'm hoping it will make it easier to compose thinking about it that way. For the next project I'm considering moving to Cubase or Sibelius First because I want to try composing in a grand staff which seems to provide a better overview of the project compared to the piano roll.
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  4. Hi, could I ask for the extension for the judging of other people's compositions? (Possible until around 25-26 of August?) I got hit with a severe case of dengue and am currently hospitalised. As such, I feel very weak and I'm required to just rest and recover... I don't think it would be fair to just randomly throw out 3 applicants' compositions without actively taking a look at their work, I would like the time to analyse their work and give some comments. So sorry for the inconvenience!
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  5. D Clarinet is very rare so stick with E Flat. Your original b flat post is possible but clearly challenging.... there are some trick fingerings that can be used that will enable the player to get around it. We use such 'dark knowledge' (!) in such passages. Happy to shed more light for any players that wish to know - www.paulsaundersclarinet.co.uk
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  6. I think this might work a little better if you slowed it down just a little bit and had the left hand playing a stride rhythm. I think the melody would fit well in that style. If you don't know what that is here's a couple of tutorial videos.
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  7. I believe this is a "romantic idea" about creativity (and composition). The fact is that the more techniques you know, the more musical languages you learn, the more theory you understand.... the more tools you have to expand your "freedom". What happens is that in the process of learning, many people get stuck in particular issues he/she is studying. With practice, time and experience, there comes a time when everything you learn is at your disposal. But this doesn't happen in a month or two... Years... I'm sorry but craftsmanships need a lot of time, and they include techniques too. When. you master all this things, you can pick the elements you want to express something. Then your freedom is intact and expanded.
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  8. I honestly like composition! Sounds like something straight out of final fantasy VII 😄 My advice for you would be to pan instruments to take a bit more space in the mix and make it sound wider! How did you record it?
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  9. Hi all - bored at home in Covid Quarantine - and stumbled on this thread. I'm a professional clarinetist - www.paulsaundersclarinet.co.uk -and thought I'd share my thoughts. Gliss-ing is tricky one to master and is only usually utilised from c (above middle c) to the top (rhapsody in blue) c. Having said that, it's possible to go further as the gif demonstrates. The way in to this effect is to imagine 'catching' the sound at the back of your throat using your larynx in the same way a thumb might go over a water tap to make a jet. If done correctly, this will strangle the sound, it doesn't sound good but it's not supposed to. Try this on an 'all fingers down' C. When you hear the change the next step is to make a break in the sound. Under normal circumstances this would have a massive detrimental affect on the note BUT because you have 'caught' the sound at the back of the throat you 'should' begin to gain control of the beginning of a gliss. Initially, lift the RH 4th (ring) finger whilst playing the C and see if that works. If it doesn't, then you haven't successfully 'caught' the sound. If you have, CONGRATULATIONS ! Then experiment with lifting the middle and then the index finger. Once the 'break' in the sound has been made, you should be able to gliss anywhere within the 2 octave range, providing your embouchure can already find those notes. https://www.dropbox.com/s/zuze94g24ajvlj4/Quarantine%20Glissing%20Lesson%20Vid.mov?dl=0 Hope that helps. Paul
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  10. I use my phone to record, and go for a walk in the woods and hum what I've written so far. I always end up spontaneously adding something new, or varying the rhythms, or putting in a key change, without really thinking about it as I go. There's something about walking and getting away from the paper that seems to loosen up my brain, and then I have a record on my phone that I can go back through when I'm home again to remember what I came up with and write down the best parts. Driving seems to work well too. Something about being in motion. There is a need to fill the aural space with sound, and the brain obliges. (: But for me, the most important is a way to record, so that I can just hum, without trying to write it down at the same time. It seems to free up my brain to let the music out.
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