hellatropicana

Hmm it's kinda hard to say but, you should check out works by other guitar composers such as fernando sor, Francisco Tarrega, Augustin Barrios-Mangore One tip that i can give is, playing seconds is really hard on the guitar so you should check all of your chords that have seconds in them. and, always double check chords that have an E,F, or G below middle C to make sure theyre playable. Arpeggios are really easy on the guitar, so broken style should be considered. As far as chords them selves, if they are too close together or way spaced out check to see if it's playable, as for chord voicings, check out guitar music from the composers that i mentioned. You can find plenty of sor's music here. http://www.muslib.se/ebibliotek/boije/Boije_s.htm

woah this makes me want to make choral music too. Good stuff

thanks, okay, i'll make it longer, i was a bit hasty on finishing this i guess. Won't happen again.

i like that bit at measure 41, and the whole piece is pretty cool. I think you should work on voice leading though, not saying that i'm good at it either, but, you can learn a thing or two from learning counterpoint, because, if you played some of the chords without the arpeggiation, you would've found that some of the voices distinctness disappears. Like in measure 7-8, there's a series of parallels. See if you know your doing it and you're doing it for a certain effect, then thats cool. But, if you're doing it unknowingly then it's something that should be worked upon.

that sounded really good, it was simple to play and fun to listen to.

i didn't want to make a new thread so i'm just gonna post it in here, i messed up on the notation badly, now i know that voice 1 is the high voice and 2 is the low voice, so it looks funky. Question is, should i make it longer, even though im planning on making a part 2 to it? I mean is it too abrupt? And i have no idea but it got super syncopated at measure 40-44, its as if taking it out of it's syncopation made it awkwardish, but cool nonetheless. After listening to some real choros, i'll make the next ones. heres the m4a, take a listen Choros 1.pdf

no haha, actually, inspired by a no namer (Semenzato) from RCMs book 4 3rd ed. I haven't heard choros n 1 by lobos yet, i should get on that.

hey, technical comments or no technical comments, just looking at it and trying to play is enough for me, well, it actually made my day yesterday haha. Since this one was rhythmically static, my next piece a Choros (see i don't even know what that is) well, i just made sure it wasn't too boring. Thanks again for checking it out guys.

Thanks you two! Especially thanks for trying to play it. I played it when i didn't add the extra notes on every third beat, and it sounded nice, so would it kill the piece if i removed those filler notes? I agree that the playability is somewhat spotty, there's a lot of big stretches, i've figured out the fingering though, so i'll add that in my next revision. The score is hideous, I still need to learn the ins and outs of sibelius. Thanks again!

I've heard of so many horror stories associated with berklee and the likes, i say just go to a regular university that has a good music program, that way if you do decide to do something different, you'll have some outs.

Wasn't sure if this is a mazurka or not, but i thought it was. I guess someone can correct me on that matter. I wrote this for guitar, its just a simple tune in the style of tarrega, it was originally 2 voices, but i added another voice (accompaniment) on beat 3. So that took it from an elementary piece to a maybe medium-hard piece. I still don't know how to add dynamic markings yet, i'll figure that out and revise it later, but any input will be takin kindly, and not like, "oh, well i meant to do that!." Thanks! Mazurka para ti.pdf Mazurka para ti.mid

Thanks composerorganist! Oh, man, i kinda went overboard with the texts, I have salzers counterpoint in composition, the fux study of counterpoint, the jeppesen 16th century counterpoint and that book that i mentioned. See, i already know i made a mistake by getting a lot of books on the same subject, i woulda been better off just getting the Modal and Tonal Counterpoint book What would be a good way to start off this relearning experience? I'm a bit overwhelmed. I figured i'd just jump into Modal and Tonal Counterpoint, and use the others to supplement? Or I was thinking about just doing it, and coming here for help or looking at those texts. sorry for the length of this post

I hit a brick wall...how do i do 4th or 5th species in triple time? I can't figure out how i should tie the notes or resolve the suspensions. Also, i'm planning on getting some books what do you guys think about this one? Modal and Tonal Counterpoint: From Josquin to Stravinsky ISBN-10: 0028721454

Hey thanks! i was up so late last night that i didnt even notice the bdf tritone! in mm15. I have two questions: If the mode doesn't have a leading tone, should i make it so that the penultimate measure has one? Also, for 5th species, suspension resolutions can be delayed, but, when using the skip away to a conchord idiom, what should be the limit of the skip?

hi i'm a noob to this website, first post this is. I've written a fifth species composition in three voices, i tried to stick to the rules, but at times i diverged, but it's mostly strict 5th species, I have more examples also, so i might just make this a show my 5th species excercises thread. I've only really made 2 compositions including this one, but i've been learning this counterpoint thing for awhile, and i think i've gotten a good enough grasp on it, but i still don't want to start composing until i've gotten it to a point where 4 part counterpoint isn't an issue. Thanks for checking it out! I can add more of some exercises that i've completed also. I don't know where i should go from here though. 3stringsdmin.pdf 3stringsdmin.mid