javileru

Thank you all! Black Orpheus idea worked... but I am open to the other option by composerorganist in the near future as well. Bests,

: My upper arrow key does not work in my laptop, Anyone know a way to move the last measure of a piece that shows alone into the last system of the previous page? Thank you!

What is your name?

I improvise for hours then I transcribe... Painfully but happily if done right. Later, I transfer to finale and correct a few things. (I write chamber music mostly). If using Finale, however, I play back as many times as possible whatever I notated down until I get the sound I want. Usually I would hear some of the music previous notating it though most of the time I am wrong on what I think I notated right... good thing I correct it in time to get the perfect sound. (time consuming unfortunately) So after some thinking and exploration I came with some theoretic solutions on how to notate on paper successfully without having the aid of a musical instrument. This treatise on the subject follows: It is encourage to master 4 part writing and voice leading rules if one writes tonal music. This is crucial in a the sense that one see interval relation and the aesthetic that brings from writing in that form. ( and yes I mean no parallel 5ths!) There are two ways to write music. You can visualize the piano for interval/chord recognition first before notating it on the staff.... Or you can visualize straight on the staffs without doing the mental parallel from the piano. I think the later should be aimed at. Why? Because one relies less on the piano.. thus saving time: you become used to visualizing things on treble and bass clef and line terms. instead. So a way to improve on that could be to learn/play a piece on the piano visualizing the score in your head as you play it... closing your eyes... not so much worrying on whether you are playing the right keys or not, but hearing intervals and chords structures(open and close position) in your head instead. One can start with small simple pieces, original or not..<transposing those little piece in different keys is very! molto! tres! important..so that the brain can start recognizing patterns) Speaking of patterns, it is suggested to create them . Practice ,for instance, just writing down arpeggios of a kind of chord ...say a major seventh triad.. several times. Visualizing and hearing it as you write them... say 10 times. After that,one can move to doing little motivic figures or musical ideas.. using maybe app., pt, nt, sus,... with some chromatism even... again all of this should be done several times and in different keys. It is suggested to sing them too ( only if you are 100% how they sound in your head) so writing patterns 10 times is good...why not 20 times :) Lastly. Write down a note... any note and try to hear an oboe...or a clarinet...or a violin..or a horn( don't forget to do the proper transposition)Try to do this for 10 seconds everyday. The ear should improve gradually hopefully if doing this exercises daily (that means less TV, play station, you tube, Facebook,YC off topic etc). There is room for improvement and an broader imagination to create more exercises of this kind... and though I am currently using the stravinskian way of writing music... I am at same time also doing this exercises with confidence it will enable me to write music using the mozartoviankovskian way. my 2 cents...

I could not resist the temptation to say that I spotted something peculiar in this piece - In the middle section in the cantabile et espressivo section I hear the music of another work also composed by yourself; Something even discussed at a different thread in which I had yet another privilege to comment on. Not sure of its name though, and not sure what I am accomplishing with this presumptuous comment. I just felt compelled to point that out. I do hope, however, for a confirmation on this!

Any one could be so kind to tell how to change or should change instruments in finale? I am trying to change from an alto sax part into a sop. sax. This is more of a key change than anything. Thanks a million.

It was taking me a awhile to find a good reason to stay in YC and you sir have become my new musical YC hero, and I am very thankful to have found you. This piece clearely proves to me that there are good composers out there dedicating real time in their craft. Thank you! and all the best for you...

Hi. I just wanted to congratulate you for such wonderful music. Your clear understanding of counterpoint is killing me!!! lol and your understanding of music composition in genearl is really overwhelming for a " young composer" . Any new projects coming up soon? peace...

See, I think there are little secrets and tips on how to approach music compositions, since its a mental work 90% of the time. So there must be a book out there that aside from revealing important compositional tips, approaches harmony, counterpoint and orchestration in such a way that it striclty relates to the composers final goal; to apply what one is learning to his daily work. I am pretty sure JW could write a book of that nature.

Hello guys, Mastering Finale gives me a hard time. I was wondering if any you know how to abbreviate rests on Finale 2004. Meaning put a number on the measure instead of notating whole rests all the way through. Thanks a million...

If I write DS al fine how can I specify the measure I want the performer to go back to?

Hello Peter and Audio. I appreciate your time in answering. I may applied some of the concepts suggested for the piece. I already submitted this little organ part, and at the end of the score I wrote: "Go to measure 8" Thanks! Cheers,

Hey guys, so I end this piece, but then I want to repeat measure 8 till measure 16 and make that measure the end. How do I notate that? I was trying to use the Italian Da Capo but that only works if you go back from the beginning to the fin And how do I make that measure 8 slightly different looking? Perhaps having the "1-----" sign on top? Any thoughts? Thanks.