Warm_Decade

Hello, I'm a beginning music composition student at Washington State University, and there's a question that has been increasingly interesting me: What defines a "good" piece? I've been fascinated with theory, partly because I'm interested in trying to determine this answer, but so far it has generally eluded me. Why, for example, are Bartok's string quartets valued over Schubert's? Or why is Rite of Spring preferred over Firebird? I'm currently trying to write a piece for clarinet, but I'm kind of stuck because I can't decide when something I write is "good" or not. Sometimes there are notions that some pieces narrowly miss greatness because they don't develop their ideas enough, but what determines if an idea has been adequately developed? What are the correct ways to "develop" an idea? When are you developing an idea, and when are you actually introducing a new idea? I feel like these are some basic elements of composition theory, but I don't have a very firm grasp of them. I'd love to hear any of your thoughts on the matter. Thanks!

Hi there! I'm working on arranging Eleanor Rigby for my college A Cappella group. It's my first arrangement, indeed my first composition, that I've ever finished and that will ever be performed. So far, however, I'm not terribly pleased with how it sounds, and I'm not sure why. I was wondering if you guys could take a look at my work and give me some suggestions on what to change, and what might make it sound better! Thanks! We started learning it Monday, and... it's ok. But it's not great, and I don't know why. Something's off about it. Now, I think some of it might be that we're still learning it, and don't have great sight readers. But I'm concerned that some of the problem is the arrangement. So if you could give me some advise that would be very appreciated! Eleanor Rigby.pdf Eleanor Rigby.mid

Wow, this really reminds me of something... I can't quite place it. The end of it sounds like D ^A ^D D C A E D.

I can't think of any way to express 9 8ths. Quarter Note = Two Eighths Dotted Quarter = Three Eighths Half Note = Four Eighths Dotted Half = Six Eighths Doubly Dotted Half = Seven Eighths Whole Note = Eight Eighths Dotted Whole Note = Twelve Eighths Doubly Dotted Whole Note = Fourteen Eighths Double Whole Note = Sixteen Eighths Dotted Double Whole Note = Twenty-Four Eighths Doubly Dotted Double Whole Note = Twenty-Eight Eighths These all remain true in 9/8 as well, since the duration of the eighth note also changes. The only thing I can think of is that a dotted half comprises nine eight tuplets. But those aren't truly eighth notes. So, you could arguably say that in the time signature of 9/12, a dotted half would be equal to nine eighth. Though again, those aren't truly eighth notes, but eighth note tuplets.

A doubly-dotted quarter note is equal to 7 sixteenth notes in 4/4. 9 8th notes is a bit harder, I can't think of any single note to express that duration in 4/4. I would just tie the notes, you don't want to confuse your musicians with some kind of esoteric notation.

Here's a question. Can we submit multiple movements?

It was recently suggested to me that I try making some pieces for my school's pep band. Since I've been working on learning Requiem for a Dream on the piano, I decided it would be interesting to try and arrange that for pep band. (Drum set, guitar, bass, banjo, sax, trumpet, trombone.) I'm finding some difficulties, though, and I was wondering if anyone had any particular ideas on how I might be able to help add more "energy" to the song. :)

I would also perhaps try an abnormal mode, such as the Locrian. One of the largest elements of fear is the lack of knowledge or understanding, if you set your listeners somewhere where they're unfamiliar, you're off to a good start frightening them.

Thanks everyone, that's exactly what I was looking for. You've satisfied my curiosity, I'm going to fool around with some III6 chords now. :)

I was doing some part writing for a music theory class where I was tonally harmonizing a bass progression into four parts. It was during one of these progressions that I encountered the dominant in the bass. I've been trying to explore my freedoms here, so rather than use a V or i6 chord, I was curious about whether I could use a III6 chord. When I thought about it, it occured to me that the III6 and the V chords are quite similar. The first two notes of both chords are the Dominant and the Leading Tone, the only difference is the change of the supertonic to the mediant. However, I could not find any information on this specific chord, nor any in depth information on the purpose of the supertonic versus the mediant so I'm hoping perhaps one of you might be able to satisfy my curiosity. How is a III6 chord used in tonal composition?

Thanks so much for your help, Black Orpheus. You seem pretty knowledgeable in this area. Thank you, too, AntiA, Heckelphone. I'll bring up a midi soon, though based on this discussion on pentatonic scales, I'll probably scrap what little I have anyway. Do any of you know a good source for me to find this kind of music? My traditional go-to music site, YouTube, has a rather poor selection in this area. :rolleyes: I did listen to November Steps there, Orpheus. Thanks for that one, it was very interesting and gave me a couple ideas. I had expected something like Hans Zimmer's Last Samurai soundtrack, but November Steps actually seems like it would be much more contributive to the vaguely industrial feel that would be associated with a train. I was actually particularly interested in the Shakuhachi, how fortuitous that you play one! Anything you could tell me about it would be very useful. Can a normal flute effectively simulate it's sound?

Hey there, I've only just begun composing. I'm going through school with the ultimate desire of scoring films. So far, though, I've only been able to take music theory classes. Nothing that specifically helps with composition, so naturally I'm kind of at a loss here. I've started working on my first piece, a concept I've had for quite some time. My idea was to take a traditional train-inspired piece (e.g. The Great Locomotive Chase - Robert W. Smith) but use instrumentation and melodies inspired by traditional Japanese folk music. So, rather than rudimental snare, for example, I would use Taiko drums and/or rhythms. (If anyone has any experience in the area of Japanese folk music, that would be very helpful, too. i.e. traditional scales/progressions/intervals. I could make it "sound" Japanese to my ear, but I'd like to try to be authentic.) The first problem I came across was creating a chord across the ensemble. I started in G minor (though gravitating around C) with a solo harp, intending to emulate a koto. I then tried adding notes in other instruments (I'm using Finale 2010) on a iv chord to compliment the Cs in the harp and add depth to the theme. I tried putting a G in the tuba or french horn, striving for the fifth to fill out the iv chord across the ensemble. However, contrary to my expectations these did not sound consonant whatsoever, and I'm at a loss as to what would. Any help you could provide me would be terrific, even the most basic of advice since I know very little beyond the most basic music theory. I'll probably keep this thread up-to-date as I progress through this piece. Thanks! - Edward "Ed" Mace Shinkansen - Harp.mus