Prometheus

Most people in classical music are pushed by their parents and start at young ages. But why can't you start at an 18+ age? Starting with music altogether at the age of 18 with the goal of becomming a professional may be tricky though. But there are still examples of people who try it and succeed.

So even more challenges. So he needs up to pick the language of music along the way also. Well, I would think that viewing the scene that needs music is a must. Or at least something that resembles it. You are creating a 3d animation? If so then you could send him a bare-bone version, right? There is not only the problem of inspiration and a feeling for what kind of music the scene needs, but also a practical problem. If you don't know how long the scenes are going to be exactly then you also don't know how long the music is going to be. Or where music changes along with the development of the scenes. If one of my friends asks me to write music for his movie/animation I would really make a point out of her/him completing at least a version of the scenes that need music before I write a note. I can't write properly without seeing the scenes, at least I would imagine. Of course things can be discussed and moods pointed out but not much more imo. I think you should send him the storyboard of each scene with the idea behind the scenes in terms of how it develops the storyline and how it should influence the viewers. Of course also other information about the plot, setting, characters, themes or whatever is important for this whole project. You could also watch some movies or animations and see that the approach one can have to scoring a movie/animation can be very different. Some cartoons have really 'descriptive' music that can be more of a sound effect than music, actually. Some movies have really light music that you barely noticeble, often for strings only. Some movies have thematic songs(and I mean songs) or themes marking important points in the plot. You can go a lot of ways here.

I don't want to add to to confusion but a carol is a song, (in the sense that it is sung). From my dictionary: Carol (KAIR-ruhl) English Medieval strophic song with a refrain (called a burden) repeated after each stanza. Now, erroneously, any Christmas song is called a carol. Since we are composers, please lets use the technical meaning of these words. It would be nice to know if the contenders are supposed to write a carol with a christmas setting/flavor/mood, a christmas song or a christmas piece. I am trying to find if that what is known as a 'christmas carol' is still a (proper) carol. The wikipedia page says it is either a song or hymn with christmas lyrics. So not a carol at all? So, are most famous 'chistmas carols' technically real carols? (Though later on the wiki page becomes unclear again, yeah I know, but there seems to be a disagreement or at least a confusion there). The criteria also need to be rewriten in proper language. Also, it should mention that the piece is supposed to be a vocal piece with a christmas setting (or whatever the definition is going to be). From the criteria: I think the writer here meant with 'carol' that it sounds like a christmas song. As it stands now I will have to withhold points if the piece isn't a carol, or a bit like a carol. About the lyrics, if the 'christmas carol' idea is going to hold I must assume lyrics are part of the work. But this causes problems. I am not able to judge the quality of literature. And what if someone writes the lyrics in spanish, japanese, german etc, that would be even more of a problem. But matching notes and words is an important part of composing a song/hymn/carol/etc. So I guess I would suggest that the piece needs lyrics but that the literary part of the lyrics is totally ignored. So they don't need to be original either. But one should be able to sing the notes and voice the words properly. I don't want to force anything, but these are my logical conclusions. I will gladly accept and follow the criteria to the letter while judging.

I guess this is difficult. I assume that this person has no experience with writing a film score. Surely the intentions of writing music for a movie are very different from those of an art music composer. The composer is not creating music itself for the sake of music itself. But the composer will try to enhance the effects of the movie through music. This is going to ask different skills from a composer. If the composer has experience with programmatic music and orchesteral music then it is going to be much easier than for a piano composer interested in absolute music. You can't ask Chopin to write a excellent film score for example. He would have to learn that first. Maybe you need to work really close together on this. You will need to learn about music and he will need to learn about movies. Communication is going to be difficult. I don't see an easy way.

It is acceptable to vary the latter part of the subject in a fugue. Of course this is not a display of great skill. It will be a sacrifice and your goal will be a perfect subject. If your subject is going to be imperfect you better gain something else as compensation. At least in the exposition. If there are multiple expositions of the same subject I guess in the second one or third one the rules can be lessened a bit. And in the development, incomplete subjects are common. An incomplete subject is better than none at all. Also, a tonal subject as opposed to a real subject isn't really considered a imperfection but just a choice. At least these are my views.

I haven't listened yet, but Artisimo, surely don't give up fast, which you already said you won't. Its going to take a lot of failures for anyone to learn to compose. Let alone a fugue. But a tip for getting a polyphonic feel; have 16th notes in one voice while the other has half notes, then switch it around. Also, in general, having short note values in the bass will give a big constrast with monophonic music.

Nineteen? When I read this topic title I would expect a 50+ age...

I though I added a message a few days ago. Well let me do it now. I am not interested in writing a song. Add me as a judge instead.

Well, if we are using new melodic material, how will it sound like a christmas carol?

Uuh, I didn't say I am going to write something for sure. But I may to try to create a big polyphonic texture with my favorite christmas melodies. Plus I have a tendency for not finishing works. Also I have no interest in winning or competing. I am just interested in writing :) But, I am a bit confused. Christmas carol, so this is supposed to be a real carol? Really, I don't know how the average 'christmas carol' sounds like and what it is. Sure, I know lots of christmas tunes. But I am sure those aren't all carols.

I was thinking about writing a Sorabji-like piano work using as much christmas melodies as possible. But that will horribly fail at the criteria. :D It would be barely playable, listenable and most melodies would be unrecognisable... I might try just as well, for fun.

Ok this is what I have halfway through. The last part is just bits I already had for use somewhere, added to the finished part. Click. Any tips on development? I never really know where to go, which road to take and none reveal themselves to me after finishing the exposition. I think this subject is too dominant and recognisable to really milk like I did. But I do want to get it in the texture someway. I guess I'll add new thematic material with the subject in diminution when I get time to rewrite this piece. Any suggestions on using canrizans in a fugue development? Or any examples? And could someone give me your personal comments and opinions on useage of cadenses anywhere in a fugue? Fugue_in_Cm_v.08.MID

You mean how to voice chords. I don't know. I also wanted to know how a melody is harmonized and sung by a choir. Surely they don't sing in octaves. I never laid my hands on a nice piece of sheet music for choir. I guess buying sheet music of your favorite choir piece will help.

I think Penderecki's seventh symphony is quite huge. Heavy on brass, extra special low horns, extended percussion three choirs(?) and four solo voices.

Wow this topic is growing fast. I haven't had time to listen to any of the newly posted fugues but good job at writing them. I worked some bit on my other compositions. But I think I will have some time later and I will force out something.