ParanoidFreak

Thanks!

I'll check that out! Thanks!

I have once dreamt of having Finale directly installed into my brain.

I'd have to say most of my inspiration comes from a kind of musical slurry that forms in my head, the result of listening to everything from Palestrina to Gesualdo to Bach to Handel to Mozart to Beethoven to Brahms to Berlioz to Dvorak to Ravel to Stravinsky to Scriabin to Schonberg to Ligeti to Cage to Glass to Reich to KAPUSTIN, to Joplin and Brubeck and Davis, with a detour through Aznavour, the Rolling Stones and Pink Floyd. I couldn't say one of these inspires me more than the other... a lot of my ideas have some inflections towards many styles of music... Though I'd have to say Bieber has a special place in my heart. Sorry, I misspelled: Biber.

I don't know if this in the right forum, but I guess we'll just have to move the thread if so :huh: . I am being lazy, and asking the people of YC for some poetry! I am considering writing a short piece for piano and voice, and I am looking for some good, public-domain prose. I know nothing on the subject (apart from some poetry from around here), so I was wondering if anyone wanted to help me out with authors, or specific works. I am looking for something suitably somber in character... almost unsettling. I will also be googling presently. Any ideas?

Hello! As for the first progression, it is a typically dorian progression ( i - IV ). Dorian is a common mode, so these progressions are often used in jazz. As for the second, I wouldn`t associate it with a particular mode. However, chord progressions by ''chromatic 3rd'' all have an odd feeling to them. These progressions have one voice moving chromatically while the chord root changes by a third - in the case of Am - Cm, the chromatic progression is E - Eb. A lot of these progressions were used by Ravel and Debussy. The are very fun to use as well.

I handwrite nearly everything as well. But sometimes a bit of MIDI rendering helps if you've got a few measures you're unsure about.

Yikes! That's a pretty... vast... question. I guess it depends on what impression you want to give the listener! For example, during the Baroque period, there tended to be a harmonic rhythm, where the harmony would change mainly on strong beats, at regular intervals (1 and 3 in 4/4, every measure in 3/8, so on and so forth), so the music had a kind of "pulse" to it. Of course, not all music respected that principle, but a great number of Bachès preludes and fugues illustreate the principle: (harmony changes each measure int he prelude, each beat in the fugue)Some music during the classical period also had that same tendency: (every measure during the first theme)As the art progressed, the rhythm at which harmony changed would get freer. Composers would have melodies above very slow-moving harmonies, not changing regularly: Or the music could become very agitated, and the chords would change more rapidly: In any case, the examples I'm giving are probably not the best ones to illustrate what I'm trying to say, but the general idea is that your harmony should serve the music in general, providing atmosphere and emotion - depending on what character you want to give your piece, you could choose to use faster chotrd changes, slower chord changes, irregular chord changes... there are many possibilities, but you need to choose the one that is the most appropriate to your music. I hope I was able to help a little bit, at least :)

EDIT: French Horn on top... else it's kind of pointless.

Agreed. Besides, there aren't any syllables assigned to an atonal melody. I think it will just have to be done the hard way, by re-learning it. Or study in French. That would definitely be fun.

In every redneck sense of the word.

I'm writing a piece currently and experimenting with a few things... a flute and a french horn at the minor 3rd... with the flute on top. Also, it has to be played by real players, you won't get the harmonics on MIDI :toothygrin:

I'm writing a piece currently and experimenting with a few things... a flute and a french horn at the minor 3rd... with the flute on top.

I guess I'll just have to put my mind to it. Also, try singing the last melodies from the Berkowitz (the ones in octatonic mode) with moveable do... I got a used copy, so there are syllables marked everywhere, but that's just something I can't wrap my had around :toothygrin: