Dunael

Hi there ;) got a few 'oriental' music books at home. and mainly I would tell you to... 1.always write your own music because you cannot acheive the art of another culture in few years 2.if you need to do a project about something specific as jujimufu said... read a lot, hear original music related to the topic. Without these, as some said it will be superficial and even though most people dont care about it (I probably wouldn't much) but it might even be insulting to the people from that culture that you just the surface of their art. ;-) But as I said... first thing... do what you are not what others would do and there lies the art thing accoding to my opinion. But more than all... have fun !! :D

I used mathematics in some of my pieces I wrote during my conservatory. Just listen to my orchestra piece the movement Hymne

Maybe the easiest trick is to sing it... sing loud you need more air... sing very low or very high you need more air... just remember that oboe last the longer and tuba the least. If so few guidelines you should be able to write it enough well. (well... it was said already)

The violin's usual sound pierce a bit more (richer in harmonics) than the viola usual sound... (but then... it might depends of the player). But honestly the difference with professional players won't be that much big for a medium register. It might make the harmonics of the of the viola part stands out more and thus becomes more metallic... but this depends of the intervals you use of course... if they reinforce the harmonics of the viola or not. Another think to consider (that has more effects) if the string you use on each instrument... for each strings has their own sonorities.... these sonorities should guide you more for orchestration than the idea of putting an instrument in a different position... it's the difference between a concept (the viola over the violin) and an 'effect' or an alternative timber (using a D string of a violin under a C string of a viola for example). That is as much answer I can give... more than that I would need help ! eheh

Ehehe... nice comment Matt... I just think that I've stopped losing my time and efforts for those who are just 'short sighted' as you said. This is an eternal war that rages here... of every time... even in Greece 500 years BC it was the war between the Canonico

Well, any examples of foreign modulations is good... I'll try to devise some example as soon as I can ;-) I'm going to hear the Pierrot Lunaire tonight ! :)

Well, this is far more avanced theory of music than you study at university. But if you read any good music theoricians, they will say exactly the same thing as I. Music theory that is teached at school is has been simplified a good deal and is based only on the results of long researches by theoricians of the 16th-19th century about egal temperament. The dream (that now has become a kind of rule-without-wit) of the egal temperament was actually to be able to make fit a broader range of tonalities through a minimum of keys (12 actually)... but any non-keyboard player of any talent will tell you that they never play exactly on the same pitch depending of the notes context... and this famous 'context regulated by the ear of the instrumentalist' has it's own rules which are demonstrated in my charts. So that's why if you play a G (498) and want a pure major third below you need the Eb... but if you pass after that from G to it's pure major third higher which is B (498+386 (M3)) = 884 and if you wish to modulate in B sharp after that for example.... then you need the major third of B which isn't the Eb but really the D# (for 884+386=1270... to which you got to remove one octave (1200c) to understand more easily and get 70... which is the 71c)... of course... that process would need very far modulations... but Listz and Wagner have done so (and others). Just to remember so you understand better... a pure third (the only one that will really sound just) has a value of 386c and this is physical... it's a question of harmonic distance in the nature of the sound. :P Hope it help... it's not something to be grasped instantly... so don't worry if it's still a bit hard to get ! ;)

There's a new version of the chart !... about harmonicity and symphonicity... I explain in my personnal and non-official nor perfect definitions : Harmonicity : is the quality of two or more pitches heard at the same time in terms of beating (sonance : located between pure consonance (unisson) and pure disonance (white noise)). These pitches show in that chart are those with the less beatings and since the interval is calculated from the tonic (1/1) the interval of pure fourth (4/3) stands like a dissonance... but in practice it can be used as a consonnance in chords that aren't in root position (first inversion). Symphonicity : by that term we refer to what the Greeks from Antiquity where using to say 'the sounds that goes well one beside the other'. So it's the sound that you can put one after the other (horizontaly) as in a melody writing. * * * Note that the more the symphonicity is complexe, the less complexe is usually the harmonicity... and the reverse is also true. In occidental music with a very rich harmony we can a very 'childish' use of the symphonicity comparing to the Indian or Arab music... or even Antique music that was only for one voice. * * * Of course... if you write a melody with the symphonicity stuff... don't forget that with a new note... a new tonic (1/1) is defined... thus if you melody is D, F, A... so D is the first tonic... then F becomes the new (1/1), and so on. I'll explain more later for now I'll be late to work !! eheh :D Cheers and have fun ! Harmonicity and Symphonicity.pdf

Well, meanwhile... try to look for the patterns of all the chords you know inside the grid... look at their shape, analyse them, analyse their relations... try out to find how transposition mechanisms work and all... in that grid is the key to understanding tonality, atonality and microtonality !... if you master it... you master harmonicity and symphonicity (verticality and horizontality of music pitches).

hmmm good idea Robin... :musicwhistle: we surely can bow the note while pitch bending... but you obviously need two players. :P Or four to make two notes at the same time ! ;)

:musicwhistle: I'll come up with more as soon as Time allows me to work. :P

Of course.... well you can already go to my website : http://www.vogagnon.com :musicwhistle:

wow ! Great Garrett... it won't make a revolution in China but your sens of the musical flow (intuition of it) is already very acurate ! After a section of stability you draw a line which draws the listener forward with a very simple but effective phrase going upward... and you use again that stategy with the same line but with more intensity by using the same stuff but in 'chords' at the end. You should has a first exercice to analyse of your piece make a drawing of how the piece goes... as if you where doing a maket of your construction. The means you used are very simple as I said... but memorize them for you'll need them all your life ! Have fun writing more ! Vincent-Olivier.

Spc1st... you see... you're getting punish for being lazy today :blush:

Well... things are probably more simple than you are imagining them now... the ratio is the same thing as the value in Hz... except that to create a ratio... you need at least two sounds... If you have more sound, then you create a chord and you can notate it like 5:3:2 (a major chord). But I have to confess that I would need to revise these chords stuff before explaining furthur for I never use them. To answer your question... everything in pure tones harmony (or Just Intonation) start from a reference tonic (effectively D in my chart). Just as all musicians tune themselves on the A of the first oboe in an orchestra... it's the oboist that determine the pitch of the ensemble. So the ratio aren't tied to specific pitches... but to a relation between them... besides... the Hz value expresses a precise et defined pitch that will create relations only if at least one other pitch is heard. For the history stuff... I don't know exactly what you want to know... a pitch history would be something awfully long to make here ! ehhe * * * I shall explain the difference between harmonicity and symphonicity eventually when you think you understand the chart given there. :blush: