Micus

Which group has more potential for variations in color? In YOUR opinion

Watch whatever passage you're thinking of accompanying a couple of times. Think of what's going on in the scene, what the characters are feeling, what important motifs and themes are showing up. Take your time, and write slowly. There are certain applications, one in Sibelius 4 comes to mind, that helps you with timestamps. You can load a video clip, play it through, and place timestamps in the film that show up in the score. It makes it easier to sync the music and film.

Hmmm... the entire piece seems VERY dissonant as a whole... I'm curious as to why you decided to use chromaticism so much. For being baroque inspired, it doesn't seem to match the typical feel of a baroque string quartet very much. That's not to say it isn't a good piece, just that it doesn't fit the genre it says it is part of.

If you think diatonically, c minor is iv of g minor. I feel like it would be pretty seamless doing a phrase modulation (aka as soon as one phrase finishes - the c minor one - start the next phrase in the new key). There would only be the issue with the previous NHT of the A natural.

I've found English Horn doubles well with bassoon or clarinet.

Here in Conencticut, we have a good supply of piccolos, a modest supply of Eb clarinets, and NO CONTRABASSOONS. AT ALL. The only time I've ever seen one was at a bassoon convention in New Hampshire, where a kid brought it along from like, Virginia.

Instead of listing countless disorganized songs, I've named my number one favorite song in each of the six categories of music I listen to most. Classical - Danse Macabre (Saint-Sa

I don't think you have to worry about most of those tricky fingerings, with the Bb to C, B to C, D to C or C#. There are trill fingerings, it makes life much easier. I felt like I should add something, as I have been playing for seven years... The very lax tuning of the mouthpiece and flexible intonation can sometimes be annoying, but more often than not, it is a blessing! I can't count how many times my clarinet is flat, with the barrel all the way in, just because it is cold. On sax, all one needs to do is lip it up or down depending on the intonation. During tunings before rehersals, I rarely move my mouthpiece; the tuning is just to let me know where the sax is in comparison to 440. I know from that if I'll need to slightly lip up or down. However, this takes a good ear and can be quite difficult for beginners. Which is why n00b sax players make my ears cry.

I've made it an effort to learn how to play all the conventional instruments. I've found that it greatly helps my writing, as it is much easier how to feel what works, what doesn't, what's comfortable, etc. Also, intimate knowledge of instruments help me with voice leading and blend issues.

Another thing... if you really want to get the feel for writing, especially in counterpoint and all, try and listen to at least a few of the great writers; Baroque is the most basic and obvious chordal and structural makeup, so if you're just starting out and want to try and analyze a song or two, Bach or Vivaldi is the way to go.

See, instead of learning anything in Statistics, I have fun practicing (yes, I actually practiced, hahaha!) drawing C clefs. So now I can do them pretty good.

Ah, yes. It's not done. Again, I am stuck without an idea of where to go. Hopefully something will come to me soon so I can keep writing. Yeah, it's not intentional, I'm just not finished yet. :)

Back before school got out, our music teacher gave us a final project. It was basically to use all the skills we learned in theory that year to compose a song. However, it had a few rules. We were to use the given melody at at least one point in the song. The melody is held by the solo oboist in the beginning of the song. We were to create our own harmonic progression, and arrange it. We were also to include a melodic interlude leading into a modulation, and to include secondary dominant chords, along with an intro and a coda. I arranged it for full orchestra. It took about a month total to write. That, however, is a result of me sitting on my donkey and not getting to the computer to write. All in all, it was made in four or five three hour bursts of writing. The piece is made with a short introduction with solo horn, which then leads into the primary melody held with the solo oboe. The melody is then repeated, held with the strings. The brass section then takes over with new material, with a short melodic sequence. The melody then passes back to the flute, moving into a con moto section. This slows back down into a rich textured interlude (2:35) that results in the restatement of the theme. After a fermata, it changes style into a fast, festive feel. (3:26) It quickly changes into a darker, more dire feel. At 4:04, however, it modulates back to major. 4:29 brings the initial melody back shortly. Writing this piece was difficult, as I am used to creating my own melodies. When forced to use one, and made to create a harmonic progression around said melody, I found that I discovered a progression that had never entered my mind before, how circle progressions are not always the best choice when writing a stable progression. Overall, I say I learned a lot more writing this piece than I had during the year, as we barely got into notation before the final. I am pleased with the result, and am proud to present it as a representation of what a year of music theory can do for a writer. AP_Music_Theory_Final.mid

This is a song I've been working on every now and then, it's been an ongoing thing, as I can never really decide what I want to do. I always put something in, then delete it. Everything here is what has made the cut in my mind, hahaha. It is definitely a work in progress. Any suggestions are welcome and appreciated. soaring.mid

Hmm, I'm not looking at any scores, I'm just gonna give you advice on what I hear. It seems the tempo is at 150, about? Try and speed it up to 180. There is often emptyness inbetween the bass staccato notes. Maybe put in an ambient synth effect to fill up background? I think what would help this piece would be more instruments in general. The texture is often very thin, and could do with a few more harmonies, some crunchy chords every now and then. It overall sounds decent, and yes, it could use some work. There is definitely space for improvement, with a bit of work you can make this sound even better!