132will

OK, I understand now. I have deleted my first post. By the way, I am now working in collaboration with a lyricist so I won't be coming back to this place. |\./| | | | | |>~<| | | /'\| |/'\.. /~\| | | | \ | =[@]= | | \ | | | | | \ | ~ ~ ~ ~ |` ) | / \ / \ / \ _____ / |--//''`\--| | (( +==)) | |--\_|_//--|

Don't know much about sonatas, (or anything for that fact hehe) But I'd love to see someone attempt at playing that 'furiously'. You gotta have chops to pull that one off :D will

" I can't be silent about this. I understand the intent was to help, but Will, it's rude to write music to someone's lyric without their permission. If your music is brilliant and the lyricist loves it, then no-harm-no-foul. But chances are, the fact that they posted here means the lyric is not finished and they might not be ready to move forward with it. They might want to work hand-in-hand with a collaborator, or they might already be writing music themselves." Ok but I haven't exactly said that, "To add a crucial element like that without permission is really crossing a boundary. In one of my posts, someone asked permission, and I denied them permission because I was already working on the music. No matter how talented you are, there are standards and there is etiquette. Other things need to be taken into consideration, and all you're doing is creating potential for a really sticky ownership issue." I'm not really adding anything to it I was just using some lyrics to make music because that is what composers like to do :( I'm not exactly saying this is somehow my song...I jsut used it for help and make a melody... sorry for any offence :thumbsup: is there any place where people upload lyrics and you can put music to them :(# oh and I realise it was lame to delete 2 lines in the chorus :(

Hello. Just some background about me: I have studied 2 part counterpoint. I can add chords to a melody like the ones in Anna Butterworths harmony in practice book. I am working towards grade 6 theory. I would like to write a simple gavotte in C major (easy key). I know it has to modulate and I will modulate to the dominant. However, I don't really know how to start? Do I sketch a structure? Do I get a motif? How can I develop a motif? I could compose 2 gavottes with the same melody, but one with 4 part harmony and the other with counterpoint. Any pointers anyone? thankyou will

Thanks for the tips. By voice leading do you mean that the 2nd should resolve to the 1st, the 4th to the 3rd, the 6th to the 5th, and the 7th to the tonic? I had forgotten about that, I was just making sure that I had the correct progressions of consonance and dissonance in the third species. I think it will be easier to rework the whole counterpoint from bar 7, bearing in mind voice leading and consonances/dissonances. However, first, can you tell me I got my idea of voice leading correct? Would you also recommend me doing the 3rd section and going back to C major? I have attached the file again, but just take note of the 7th bar, which is the only one I've changes so far. I've tried to get rid of the parallel octaves. thank you will :thumbsup: Counterpoint 1.pdf

Hello. I have learnt some counterpoint and have done some which I think is correct... However, in the book it doesn't talk about how one can actually USE counterpoint, in the form of a baroque dance or whatever. This is a little piece, you should be able to tell which voice is the melody, it changes half way through. This piece modulates to G, somehow, and finishes in G. I plan to end this work and go back to C major. However, it's hard when I don't really know a structure of my piece :( thanks... Finale plays everything at the same tempo and refuses to change whatever I do, so I can only provide a PDF... Counterpoint 1.pdf

A melody is usually made up of short phrases made into a longer phrase. There are two types of melodic motion, conjunct and disjunct. A conjunct melody moves mostly by step, but a disjunct often jumps around a bit. It is a good idea to mix conjunct and disjunct motion. The 1st, 5th, and 3rd tones are the most stable. Other tones are unstable, especially the 4th and 7th. All unstable tones tend to resolve downwards but the 7th tone normally goes to the tonic. A melody can come more easily and naturally if you look at some lyrics, or random words or a poem, sing them and record yourself, and then transcribe them. You can increase melodic tension by not immediately resolving to a stable tone. For example, going from the 6th to the 7th to the 2nd creates a lot of melodic tension, and then the melody could be tonally closed by landing on the tonic at the end. Landing on the tonic really closes the phrase, but it could be slightly less open by ending on the 3rd or 5th for example. Both the last note and the first note of the phrase are important focal areas. It is possible to make a smooth connection from one phrase to another by making the first note of the second phrase the resolution of the last note of the previous phrase. An unstable tone may resolve immediately, or resolve after a number a beats, or even after a number of beats, or not resolve at all. It is important to use melodic outline. The melodic outline is formed by the most important notes of a melody, referred to as structural tones. They tend to be on important beats, start a phrase, be the highest note in the phrase, or have a longer duration than the other notes. You can embellish a melodic contour in several ways such as repeating the tone, using neighbour tones, a changing tone, a scalar pattern, anticipation and leap. It is a good idea to combine all these into a phrase, but don’t lose track of the structural tones. Using changing tones is when you use both the lower and upper neighbour notes of the structural notes straight after each other. It is also useful to use a variety of melodic contours. This is the general direction of the melody. Contours can be ascending, descending, an arch, an inverted arch, or stationary. Too many phrases with the same contour may cause monotony and be boring. You can decide how closed you want a phrase to be. You can do this tonally or rhythmically, or both. Melody should have sections such as, a, b, a, b. A, would have one rhythm, and B, another rhythm. However, the pitches would change. Here are some other sections. A, a, b, a. A, b, a, a. So far, to make a melody, we could do the following. Decide on a structure, the rhythms, the melodic contour, and the melodic outline. Using a motive or idea or hook is important. This is memorable; it could be rhythmical or melodic. You can develop a motive by retaining the rhythm but changing the pitch and melodic contour. Here are some more techniques. Sequence. Inversion. Retrograde, where you present the motive backwards. Diminution, where you shorten the note values. Augmentation, where you lengthen the note values. Permuation, where you change the note order. Conjunction, which is new material, usually one or two notes, that connects two motives together. Ornamentation, which retains all the main notes of the motive but embellishes them. Or you could start with a chord progression: A chord progression could be simply a repetitious pattern, for example, consisting of two chords, one per measure, which repeat for 8, 12, 16, or more measures. These two chords could by the one and four chord for example. The melody should have its own integrity and not simply be dragged from place to place by the harmony. The melody should really contain non-chord tones. This could make a sus chord. The melody could have rhythmic activity in the areas of weak harmonic stress. This helps propel the music forward. It also creates a type of give-and-take activity between the harmonic and melodic phrases that continually enlivens the music. The melody can begin and end in areas that differ from the beginning and ending of the harmonic phrase. This technique is called interlocking. Back-heavy phrases are good. This is when a melodic phrase begins on a weak measure within a harmonic or metric framework. For example, if an F chord lasts for 2 bars, the 1st bar has no melody, but the 2nd has melody. The first bar is mainly harmony, but the melody is the main thing in the 2nd bar. Don’t refrain from using common chord progressions.

Hey all. I would like to recommend that anyone that uses a keyboard/piano/guitar to compose buys a recorder. I do this and composing is now much easier! I just play piano, and DONT sing! However, I can sing randomly and it makes a nice melody. I use poems for lyrics for a melody. I find recording something keeps it original and fresh. I made the chords first and then sung it. then I can just listen to it immediately and transcribe the melody! thanks all you probably know this but I love doing this method... A small handheld type recorder is fine it's not for release! In a nutshell, it means you can keep composing without stopping to have to jot down the melody and everything...then its quickly composed and doesnt sound disjointed! yay will

Hello all. I hope you all had a good Christmas. I was wondering about pop song writing, elton john/billyjoel type stuff. I like making chord progressions but they are all the same basically. Same old boring I IV V vi stuff. I always write the chord sequence first...and then think of a melody. Would you recommend making the structure first and then adding chords? I tend to compose very short things at a time, like 2 bars, then 2 more bars, and it just goes on without structure or formality. Maybe a structure would help me on when to modulate? I have a baroque "chord tree". It means I can tell what chord I can go to next. Does such a thing exist for pop music? It's like a dummies guide to chord progressions :D EDIT: Is there a free newsletter or guide somewhere (fairly indepth) about songwriting? thanks...

Hello all. I have not visited a while. I went crazy here last half term when I randomly wanted to write loads of Gavottes, lol! But now, I have to write a gigue... I've decided to do it with counterpoint, 2 violins, in 6/8 time. I'll probably do it in major key so it's lively :D Do gigues modulate, and what do you do for the structure? There's hardly any information on the internet, wikipedia says nothing about the structure.

I liked it, it wasn't like deathly grim, but the kind of music you might find on a cartoon Halloween. I like the lead ins, and that bas (if I can remember correctly). The end seemed a bit, unending. I think you finished on the V chord ? Maybe make the ending more, hmm, accented/final/endy. nice piece overall, catchy, I still have the tune in my head :) will

Sounds good but is it possible you could upload a .pdf so it's easier to see where the theme is :D

Thanks, but apparently counterpoint can only be like 8-13 bars long or something :( Here's some 2nd species counterpoint anyway. There's too many rules to type out but if there's any counterpoint pros out there I'd appreciate it if you could take a quick look :D Counterpoint 2nd species.pdf Counterpoint 2nd species.MID

Thanks! I'll will look through them when I can find time but I've got to go back to the worthless, time wasting place -school!

Hey..this is my first counterpoint, 1st species. The rules are as follows (the ones I have...): -do not approach a unison from the interval of a 2nd -avoid parallel octaves and 5ths 2 parts may not move in parallel motion to a perfect consonance (below are specific for 1st species rules) -no dissonances allowed -2nd to last bar, counterpoint must be a major 5th above the cantas firmus. -final bar, counterpoint must be an octave above cantas firmus. -Unisons are not allowed, apart from the 1st bar -counterpoint in 1swt bar must be octave or 5th or unison above the cantas firmus thanks, will Counterpoint.MID Counterpoint.pdf