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Thanks, I have a MacBook Pro, and the built-in microphone isn't the best at all... I've already tried, but the quality was awful. Yes I'd like to record it with a microphone, (are there any other ways?).

Hi, I want to be able to record my piano with my notebook, in an acceptable quality, but I don't exactly know how. Does anybody ahve some advice? Thanks a lot

Compliments, you said that you weren't a good teacher... It isn't true at all (the king analogy was perfect and explained it very well!) and I thank you for the time you take for this. Now, after all I have a few questions though: The theoretical part about the cadence is clear, you have to establish for instance Cmaj as the tonic. But how exactly do you do it? I mean you say you need a cadence. DEF.zip Now I tried with another piece I had. The first example DEF1 is the one which I think is wrong, because it estalblishes Gmaj as tonic. The second example is DEF2, which, I think, establishes Cmaj as tonic. Is that what you mean by establishing a tonic by cadence (measures 4 and 5)? About studying scores, is there any sonata (from anyone, is hasn't to be from Beethoven :)) that you could recommend for studying, because it cleraly shows the cadence etc.? Thanks

Sorry again for not answering, but I totally forgot about that awesome and intresting thread I started... And the email notification didn't work -.- Well for my knowledge of music, I play the piano since 10 years, guitar since 3, and I have music theory since 5. The theory at school is very poor, but I learned for my self more than that. A little problem could be the language, because I learned everything in German, so the I simply have to google the few terms that I don't understand, but that isn't a problem... I know what a tonic is, a cadence, consonance, dissonance and non-harmonic tones. What I don't know is for instance how to establish a tonality, which is one of the main problems of this piece. For the music style, you are right, I love classical music, so I try to compose like that (romantic, less baroque). I mainly compose for piano or guitar as you can see from the few threads. Now that you say it, I see the difference between the essential and the unessential notes. It's only that the unessntial notes kinda fill the "empty" spaces or change something, but neither the rythm nor the essential melody is changed. So, what'd you suggest to do to "improve" or to learn how to use that? Simply try and error? You say that you're a bad teacher, but really, you explain it better than my music teacher here at school :D Many thanks for the time that you invest in that, and I simply forgot it... I'm ashamed, but I've so much to do in school and the social life... Thanks again

Wow... I'm overwhelmed... In a positive way, of course. First of all, very nice piece you made out of it, so could you, although it's not finished, upload the sheet? I'm really interested in diving deeper, and I really think you could be a perfect teacher, really... Your explanations are very simple and clear. There is something that is hard to understand (without a sheet): What do you mean by "D minor is not established as the tonic"? I saw, I won't compare anything with it, that Beethoven and Haydn (just exemples) did the same thing in few of their sonatas, using only the I. and the V.. You are right, the melody is much more captivating, with those short notes in it. Very well done. But what do you mean by developing the melody? And which are the techniques you mean by that? Thanks

I'm sorry for not answering, but I wasn't at home for a long time... So I'm gonna post here one of my pieces where I'm stuck... I find it pretty hard to do what Tumababa said in the beginning, because, I don't really know where the piece will go, I only have idea, of how the overall should sound. ATM I'm trying to "force" me to compose every day about a half an hour, as rob1984 said... FileFactory.com - free file hosting Here you'll find the Sibelius file, a pdf and a recording (played by the computer...). Enjoy

Well, thanks for the critics. About the .mid file, I don't know why Sibelius exports it that way, but it's always a percussive organ that sounds. Does anybody know why? @Qccowboy: thanks, yes the title, you are right, is in French, but I thought that most of the people understand E Mineur better than Mi mineur. And the harmonies, yes I know I go often back to the original E minor, but in the future I'll try to explore new harmonies. ;)

So here is a piece for the colleciton of guitar duets I'm composing... It's in e minor and maybe it'll be continued, under that aspect I'm not so sure... So here are the PDF file and the Midi file... And the Sibelius file. Thanks for all the reviews! ;) Rapsodie en E mineur.pdf Gitarren-Duo.mid Gitarren-Duo.sib

Ok, thanks a lot to you Tumababa. I think I'm gonna do it from now on. And thanks also to manossg, yes, you're right, I've studied the sonata form, but I think, it's not very wide the range of composition, if you compose as in that time (1. allegro, 2. adagio/andante, 3. Menuetto, 4. Finale) Anyway, thanks a lot to everybody!

So... I don't know if this things happen to other people or not, but I'm asking your advice. Often, when I play the piano, I find melodies that sound good, and a few variations. Then I want to write it down, and I write it until the point, where my initial idea stops. Then I've like a blockade: I don't know how to continue the piece. Sometimes I have an idea for the main theme, and the idea for the second theme, but I simply don't know how to fill the gap within those two. I hope somebody will explain it to me, because when I listen to classical music, it seems so easy to me, I mean they use chords over and over, but in reality, it's pretty hard. I don't want to know how you can do this, but I'd like to learn to "fill the gaps" in the pieces. Thank you a lot for your advices...:thumbsup:

Thanks a lot Jesuswaffle... Yes I wasn't sure about the dynamics, and in the other file I had, I had put them away. And yes, I thought the transitions were too abrupt, but I wanted to be sure, by asking you guys. And thanks for the ebook, I already knew it, and had already printed it out, but I didn't have the time to read it yet.

I don't know why it is no piano... I wrote it for piano, and if I click on the Sibelius sheet, it plays it as a piano... The midi file plays it as a drum set, but I don't know why, and I have seen it today for the first time. So the topic is on the right place, but for some reasons, it isn't played as a piano. If you have any other comments about the piece, they're welcome.

Okay, I must apologize... I didn't look at the sheet (pdf) but I looked at the midi file, that I opened with Sibelius. There were 137 measures, so the measure I mean at the end is measure 122 (after your sheet). And about the ending... I don't have the 3rd Piano Concerto from Beethoven, neither do I remember the theme *shame on me* I think, that after the last G in measure 121, you play the 4 Cs, then play GCEb as a chord one octave higher, and then you fall again into the 4 Cs. I think it would be a better ending. Your continuation seems to me, that something new will follow, not that the piece will end in a few seconds. Greetz Luca PS: You are right... The two Cs aren't imposible to play... simply very hard, I tried it myself... and good luck for your carreer as a professional pianist. Wherea re you from and how old are you? :huh: I'm sixteen and from Switzerland

Very nice piece... I liked very much the beginning, but probably it's very hard to play. The right hand will be knocked off after a few minutes. Positive: Great theme, simple and funny at the same time, it's easy to remember (it reminds me a bit of some Chaplin movies). The melody in the second piece is good, because it isn't as happy and simple as the first. Negative: Although it's a very impressive piece, it has some porblems: the left hand, it will be impossible for a player to jump from the lowest c to the c that is 2 octaves higher (bar 119 or 127). I also think, that you have to smooth a bit the passages between part A and B and between A and C. The last, but not least, point, ist the ending. I think it should be a happy ending, not a deep one like have. I think the piece could end on bar 132, adding a high Cm chord and falling again. So... very nice piece, I adore the theme, so nice one for you first post.

That's a small piece for piano and it was one of my first pieces. I was inspired by a poem about a hunting song (for those who speak German: Eichendorff - Gedichte: Jagdlied ). Thanks for your rewievs, may they be positive or negative. Jagdlied.sib Jagdlied.mid