kly45

Totally depends on the piece. For example if i am writing a piece with paradigms or motifs I usually start at the micro level and work my way up. At the moment I am working from a macro structure that also applies to the micro rhythm of the piece. So I guess overall you just start with an idea or concept and think of the possibilities. There isn't really a definitive step-by-step way for me. 1. Create concept/idea 2. Think of possibilities either structurally or the theme development 3. Write piece and use critical judgement to inform decisions.

Hello I am writing a piece for 4 flutes. Each flute moves up in glissando patterns to create microcanons. I was speaking to my tutor about this the other day and he said that simply going from a low not to a high note via glissando on flute is limited because of the fingerings. My original plan was going from a low F to a high D sharp. with all the tonal and microtonal qualities in between. What is problematic about this? If I am starting from an F what is the highest note I can reach via glissando? Thanks

I don't know why but the file didn't attach. Here's attempt two.

Oh hey everyone, I haven't been on this thing for ages. I am at uni now, studying composition among other things. For one of my assignments we have two different ways we can compose our piece. 1st - Using archetypal shapes or phrases that get repeated with variation, in the style of Syrinx by Debussy. 2nd - Talea and Color in the style of Messiaen. Chord patterns that phase in and out of the pulse of the beat. Here is my idea, i'm going with option 2 btw. I have a 12 tone row which is basically a set of four major and minor triads. The idea is that the base holds the route, once the rest of the triad is played, the bass then moves to the route of the next chord, basically creating three chords per bar rather than two. Here's an example. As you can see in the attached file, it appears as though the chords are: (F+ maj) - (space) - (Cmaj) When in reality because of the held on F+ there are three chords (F+maj) - (F+, E, G) - (Cmaj). The piece continues like this with the route in the bass and the response in the violin and viola being separated. Eventually the viola's rhythm is augmented (x 0.5) and the violin's diminished (x0.5) which creates the middle and the top line phasing in and out with the bass line. Sorry if that's a lot to take in, but is this an example of a talea and color? Is this technically an example of a modern passacaglia? I need to know i'm on the right track. Thanks

Don't want to bump this but I really need an analysis here, so can someone please listen and tel me what they think?

Hello this is an assignment for my course at university. Let me please point out what this piece is and is not, and what I want to hear about in the comments What this piece is: My first composition university assignment (3rd assignment for this class, which I am doing well, so even if this was a total failure I would still have good marks in total) A composition in binary form, a theme and two variations ONLY in the melody NOT the bass - As per the assignment rules An exercise in showing the potential of a simple melody and what I can do with it What this piece is not: ...supossed to be something spectacular or different something that is supposed to sound amazing (granted it won't sound "terrible" but is mainly marked on it's written musical skills rather than purely aural) Now what I would like you lot to do in listening is if you can tell me if it is harmonically sound, if it fits the title "theme and variations" well (e.g are my variations good?) Or if you generally like/dislike (as I said, it's mainly just something I wrote down without an instrument - started with a bass line, added chords, fitted a melody etc...) I may decide to write some more variations later on this, and turn it into something better than just homework, I was very much struggling trying to come up with dramatic variations being unable to write a bass variation Theme: Just started with a simple bass line - A B A A+ form - (4 bars each, as per assignment rules) Variation 1: A variation of ornamentation and extra notes, I went a bit mental here and decided to speed it up and make it sound furious Variation 2: Much lighter here, decided to go with a change of mood, hence key change to relative major (we are allowed to change the bass line here but only relative to it's key change from the theme) Went with triplets and some note changes to give it a rhythmical variation Enjoy and please let me know what you guys think/suggest would improve this. Thanks Theme and Variations

Just thought I'd add a reply about seeing a sponsored link for "sludge samplers" Anyone??

I thin her music is ok, but people go on about her like she is doing something extraordinarily original/different. Which is kind of annoying, she's good, just not "AMAZING!!!!!!1111"

Not been here for ages! Anyway, wondering if anyone knew where I could learn how to mix/master and in general learn about sound technology in general. Preferably a free or cheap online resource (like northern sounds orchestration forum), however if you have any other suggestions worth it then please let me know too. I am looking for something mainly based on Logic Pro and/or Ableton live Thanks

http://naturalismo.wordpress.com/2009/10/07/the-monotone-symphony-by-yves-klein/ ^ Yves' monotone silence symphony, it's nothing but one note repeated but it's a beautiful note :)

I don't know what's happening I think the file is too big.... Hubert the notes were concieved by taking a few starting notes and making them move either one up or one down in contrary motion. And yes, I forgot to mention that the piece is more focused on changes in rhythm rather than tones, it is homophonic for much of the piece because it is to sound very thick and 'together'. So during the changes in the sonata form instead of changing keys etc it is more focused on changing rhythmic patterns.

This is the first movement of my 1st string quartet. I have recently finished the other two movements but have not perfected the notation yet so I will upload them later.Anyway I was inspired by Heitor Villa Lobos' quartets when I wrote this, it's fairly experimental, I've tried to use polyrhythms and polytonality on places (however these are more prominent in later movements)It is in sonata form but not in the traditional sense, following different rhythm variations rather than key changes etc. There are some it that are melodic (subject 2) and I use it in my development area to make an alltogether new melody.This melody is then used as a coda at the end.Please tell me what you guys think, I have been working on this for a long time and appreciate anyone's comments who listensThanks String Quartet 1

I don't agree with paying, it makes it seem like a lottery and many 'young' composers are strapped for cash (esp if they are too young to have a job or go to college etc)

Hello everyone not been here for ages but still busy writing ;) I have recently been asked to audition to a university with composition being my first study. They want me to bring in my own work but I just want to ask what do you guys think are the best things to send in. more traditional forms/systems like fugues and sonatas Atonal music or more experimental stuff or a mix of everything? And obviously I can compose but I also need to learn allot (that's why I need to take the course!)so will they pick up on bad points on my pieces and punish me for this? Also if anyone could tell their own stories of what they used to audition to composing courses it would be a great help.

sorry for taking interest? This is the only piece I've seen of yours so far, I've only really been here a few months