Slayertplsko

I tried it, but nothing happened. It still sounds the same whether I put a slur there or not.

I can't get Sibelius 6 to play legato. I tried it two ways: 1, by pressing L (line) and adding the slur sign 2, by adding expression text called 'legato' They don't work and neither in GM nor in any VST. Am I doing it wrong? Thanks.

As much as I hate to break it to you, I can't imagine people liking Schoenberg, Webern or Stravinsky (no, I don't even dare mention Varèse) more than Mozart, Chopin or Bach. In fact, just from my accidental observations, I would imagine this as something that people might like: People are scared when they hear weird things, sadly. It must be quite consonant and smooth for them to like it (OK I'm not saying the Liszt piece doesn't have chromaticism in it, but it's all kind of smooth, you know). I think the problem lies elsewhere. Perhaps in those labels given to it ''classical music is music for old people and snobs'', ''classical music is dead'' and so on. The author of the article that Morty posted calls the term 'classical music' a 'masterpiece of negative publicity'. There might be something to it. Part of the problem could be music education (or lack thereof) at public schools. In my country, kids aged 6 to 14 or so (ie. 1st to 8th grade) do have a subject called 'music education'. But this is another masterpiece of negative publicity. The first 5 or 6 years they just sing Slovak folk songs, and then there is some very brief introduction to art music. I know that there is no mention of jazz and other genres that emerged in the 20th century, which is a big problem. I believe the main goal of public schools should be to let kids know that other alternatives to radios and charts exist. But they fail to do so and they even do the contrary. What about education in your countries?

Ehm, je ne sais pas. I'm sorry, I'm missing your point. True. There indeed was jazz played quite a lot before WWII even in Czechoslovakia (and I believe in other Middle European countries as well), we had our own genuine bands and singers. But after the WWII, the whole Eastern Bloc was under communist rule. And those guys didn't fancy anything western - that means jazz, later rock. They tried to rid of any western influence and saw it that a unique, yet stupid form of folk-pop emerged (they didn't mind drum kits and saxophones though). So every musician who didn't fall in their ideological standards had a pretty tough time making the music he wanted to. Classical music on the other hand had never been seen as something dangerous, and that's why it has such a strong position in music education (almost a monopoly). Heckelphone224: I didn't mean that nobody listens to it (I'm guilty thereof at least), just that it doesn't have as strong a position among non-musicians as you said. Sure, older people listen to it and those who study music sometimes do, too. But I would say it's just as overlooked, if I may put it this way, as in other countries.

Well, there is something common here in Middle Europe. I don't think it's rock and it definitely is not classical, art, serious or whatever you want to call it. I live in Slovakia, and would say that I also know the Czech ''scene''. Where classical music REALLY prevails over everything else is the area of music education. I'm sure we don't have a single college-level music school that teaches jazz (I'm almost sure Czech Republic doesn't have either, but I know Poland has one) and I don't know of any such conservatory. There are relatively few elementary music schools that teach jazz. The same goes for rock, in fact, it has even weaker position. Classical music clearly prevails. But moving outside this area to common public, it doesn't have a strong position. I don't think any stronger than in any other country. On the other hand, neither does rock or jazz. It's all pop here, sadly.

Good tip, thanks!

Again, you're not composing in EWQL literally. You need to have the piece composed first and EWGL, Native Instruments and all those sound libraries just provide a better sounding alternative to MIDI. It's just that and nothing else. I bet you'll agree that MIDI violin sounds crappy. EWGL library on the other hand sound quite close to real violin. It often lacks the emotional quality of original, but it's a very decent tool if you want to hear you piece played. And the same with every other instrument. They just sound incomparably better than MIDI. Then you have those notation programs (Sibelius, Finale, Capella...) where you write notes and it plays them for you. But only in MIDI, which sounds lousy. To have a better sound, you can use a plug in for those sound libraries that give you much more realistic violins, cellos, saxophones, bassoons, sitar or whatever and sort of ''connect'' the notation program with the sound library - make them colaborate. Or you can do it with MIDI connector through your keyboard. Like bryla said, they don't provide loops. They don't compose for you, they just play what you give them to play. It's your personal orchestra.

No, it's not. Sure, there are programs that give provide you with tiny, pre-recorded pieces of music and you can just mix them together but these are for electronic dance music. But programs like GPO or EWGL are different. These are neither notation (of course they can be set to work for notation programs like Sibelius or Finale) nor mixing programs, these are just sound libraries. Most of us don't have the opportunity to have each our new piece played by an ensemble or an orchestra. And that's what GPO and EWGL are for; to provide you with your own orchestra. But the composition process is the same Bach, Purcell, Schubert or Mahler went through.

That's a different thing. http://en.wikipedia.org/wiki/Dotted_note http://en.wikipedia.org/wiki/Staccato And double sharps and flats are surely not useless at all. Of course, if you just want to PLAY something and are not interested in composition at all, then they're redundant for you. And you could perhaps feel the same about flats - why not have just sharps? And naturals could be too considered useless. Let's just have sharps and write them each time there is supposed to be one. But that would make it way difficult for composers (to whom this forum is dedicated). That we have sharps and flats and also double sharps and double flats helps us understand what's going on with the harmony. So they're all very useful. The difference with triple accidentals (I haven't seen one anyway) is that these could occur only in key which already include double accidentals. And practice shows that composers avoided such keys (e.g. if you had a piece in Cb major and a modulation to its parallel minor, this would command use of double flats and this way a triple flat might be called for in some harmonic context, so you would prefer to write it in enharmonic H minor instead).

Why do you need a triple sharp anyway??

Dotted notes quite often get the beat, so I don't really see a problem with a triplet. But no, I have never seen it. And neither those accidentals you mention. But why not leave it with all those ties?

I have his Theory of Harmony and it is a really thorough insight I must admit. So perhaps I'll give it a try.:)

Oh yeah, Kostka's Harmony looks great. But it's waaaay too expensive. Maybe I can get it for my birthday (I want a sax for Xmas already).

Oh examples are not that necessary. I mean examples from classical repertoire - e.g. two or three bars from Beethoven 5 demonstrating the augmented sixth chord. In fact I already have a book with examples, I just don't have anything with exercises.

Hi. I'm looking for some Harmony book which include exercises and examples. I haven't been able to find anything with exercises. Thanks.