keysguitar

See, that's the problem with standard music theory. Good theory doesn't dictate anything, it just lays everything out as it is and lets you make the choices. Surprisingly, Piston's book on counterpoint is rather good. P.S. Can anyone tell me what they think CAUSES tonality? I want to hear all sorts of different opinions; in detail. If I'm not mistaken, doesn't Schenker believe that all tonality is based on a tonic-dominant relation? I have the perfect disproof to that theory.

I'm sure there are plenty of people who have discovered new chord progressions, and are discovering more every day... What makes you say this?

My two cents; As far as music that actually uses distinct tones, there is no reason to use anything other than standard notation. If you want to create whale music (no offense to anyone who does, haha), go ahead and use graphic notation. I've heard a lot of people talk about the flaws of standard notation, (within the realm of distinct tones, I assume) but they never exactly say how it is flawed. Can anyone illuminate this for me? I guess maybe Schillinger's point with his graph notation was to remove the confusion of enharmonic notes, but that isn't really a problem with standard notation, but a built in feature. Our notation wasn't conceived under equal temperament.

I can 'sort of' play the clarinet.

I would love to play the viola or cello, but I don't think having another instrument that I 'half-know' how to play would be very good for me. :P For example, I can sort of play the saxophone.

Hello guys. Thanks for all the help, I really appreciate it! Anyway, as far as community college goes, the one I am going to has a program with Shenandoah where there are certain credits that are guaranteed to transfer. If I decide (E.A, get accepted into) a more prestigious school, I figure it won't really matter to me if the credits transfer or not, because for any one of my dream schools, I would do anything to make it work out. I will probably get my bachelors in composition at Shenandoah anyway, and after that if I want to continue I'll just transfer to another school to get my masters. I think I am going to attempt to write a short sonata, (or maybe just a sonatina) to try and work on my form, I will definitely upload it here when it is finished. I am watching this Bernstein lecture on youtube, and that has already given me some good information about form. I hope to get some books and analyze some pieces as well.

I went through this struggle myself, wondering weather or not getting a composition degree is worth it or not. I ended up deciding that going to college for composition is an invaluable experience weather you make a career of it or not. Some of the greats never went to a music school, they just had it in them. However, if you really want to go to music school, if that is what you love, the reason you should go is because you love it, not because you want to make a career out of it. Music was never a secure job option, but if the greats wouldn't have taken those risks, where would music be today? If your music doesn't work out as a career, just remember; those who can't do, teach! That's my backup plan anyway, even if it means getting a doctorate. That's my 32805/32768. (Microtonal music humor)

Anyone can compose if they practice it. To become a good composer however requires creativity, which can not be taught.

I couldn't live without IMSLP!

So, I've got one more year of high school left, and although after that I might possibly take a year or two taking general ed courses at a community college, the time for me to really begin constructing my portfolio so I can apply to a school for composition has begun. I guess what one of my main questions would be is; "What are they looking for?" and "Would they care if the pieces are relatively short?" One of my main problems with composition is my inability to implement more long term forms. I hope to especially work on this in my college studies, but would they be turned off to my application if I only submitted short pieces? (4-5 minutes or less) Would it depend on what school I apply to? I would assume that Peabody or Berklee would be more selective than Shenandoah University. (basically my fallback college if the more prestigious ones don't work out) Is being yourself more important than being conventional? Some of my ideas for compositions for my portfolio would be; One based on Bossa Nova rhythms (possibly a fantasy or prelude) An two part Invention in pelogic temperament (Major and minor are essentially reversed, E.A. 4 perfect fifths equals a minor third) A concerto featuring a Fender Rhodes keyboard (or an excerpt of one, because I probably am not disciplined enough to write an entire concerto) just to give you an example of a few of my ideas.

XD, how about a piece for 31-tet (the frets are really close together and are hard to play) guitar with a 7/5/3 (or more complicated) polyrythym, with sung Klingon (required to be sung in perfect 11-tet against the 31-tet guitar) while playing an organ pedal board with one foot, and another guitar with another foot (using your toes to play hammer ons and pull offs) OH!!! And with a nose flute! Haha, I think I am going to do this now, just to see if anyone would be crazy enough to preform it. I will call it DuHHa' (Klingon for impossible)

I would just like to say that Bossa Nova = *swoon*

I am recording a short prelude for fretless guitar and ocarina in 17-edo. Maybe I'll upload it when It's finished.