Trickshot

Maybe lay off the chromatics a little bit. It wasn't the most suspenseful piece either, but I enjoyed it all of the way through, which is kind of odd. I like how it was really simply structured, but had like a complex underlining to it. (I hate not being about to be able to specifically explain myself.) But it was very charming, ... yea..charming. It's something I could listen to while going to sleep..and no, that's not an insult! - I listen to Mozart every night when going to sleep!

Well......it's obviously not necessary. It's not like its impossible to compose without it. But learning what the instruments are capable of can help immensely in a realistic sense. Some instruments have a very hard time playing in certain registers and sometimes the easiest thing on one instrument can be a pain in the donkey....too much trouble than it's worth...on another instrument. But I think the keyboard is the basic instrument to have knowledge on. It's the only instrument I can think of that his all of the notes spelled out for you in black and white...literally. It's a very good visual tool and helps you understand scales and relations to other notes a lot better. I started out on marimba and just knowing that gave me very useful knowledge in composing even though I know theory only to a high school level. Keyboards are very useful. Primal knowledge on the instrument you compose for is crucial if you ever plan on someone actually playing your music. I once composed some very simple rhythmic and tonal passages for Bb clarinet once a while back, and my girlfriend took one look at it and laughed.

I think I will put 160 to 120 in my next revision. I had that in one of my drafts. I just wanted things to be mathematically significant. But it also works with the 120 160 120 thing because I use a bunch of triplets at 120 which is equal to eighth notes in 160 (right..?)(If I'm wrong, does anyone know the correct correlation?) And that would still fit. I should have went with my original instinct on that one perhaps.

Nope, sure don't. I originally made this piece as an etude for practice around the piano, but I got a little out of hand with the left hand..for my current skill level. (which is basically zero.) And I'm really disappointed you didn't like the coda section. I thought it was the high point of the piece. I don't intend on changing it completely, but I know I can always do something better, or more relative to it. I respect your opinion whole heartily. I will defiantly take that into consideration. After posting this I listened to it a few times, and a half of the unison parts I like, and half, I don't. Like the descending triplets in unison, I dig that, but there's a short little section were they play in unison and I don't feel as if it brings out either of the voices, just kind of blends them into one bland voice. I'm glad you mentioned that. (I should probaly take a peek at the score to be more specific.) I've never heard that nursery rhyme, but I'll check it out lol. Thanks for the comments, I appreciate them immensely. And after listening to the ending rit. with some fresh ears, I find that it doesn't make quite as much since as it did on paper. The Coda starts at 160 and ritards quickly to 80. I originally had it to where the last two measures (not counting the down beat) where half time which made it 80. I thought it was too abrupt, but I think it honestly would have worked better. Any opinions on that? This piece isn't exceptionally hard is it? I understand my lack of piano knowledge hurts me in one aspect, but I think it gives me somewhat of a fresh approach in another light. But I'm rambling....once again, appreciate the feedback.

Well, I call it an etude, because that how I intentially wrote it. I don't know if I'll ever really get around to playing it or not. I just really need to brush up hardcore, and I figured I'd start with a piece that is TOTALLY in C. No accidentals. Well I ended up loving this. I don't use too many chords, but I really embrace the use of rhythm to get my message across. I do like that. But I am really starting to get a classical touch that I really enjoy. It's not over the top, but I think it's tasty at least. I'm still converting from contemporary mallet percussion to the music I truly love. The overall piece is missing something...probaly chords. I didn't want to make it too complicated, because I've never actually written a piece for solo piano. Just kind of played with it a bit. It ends with a very fast section that ritards real quick into half of the fast tempo, and makes a very nice ending. I worked real hard on that ending. I didn't really want to put the beging of the ritard at the measure I chose, but it only made sense logically, I didn't think people would get the message with my original idea. This was my fourth or fifth revision of the course of two days. I like it alot, even though it's not complicated thing, it's still music and I enjoy it. But a piece is never truly finished in my opinion, and that's where I want all of the input possible. Point out a single measure, overall concept, or a staccato mark you think should be put in place. I don't care, well more accurately, I DO CARE! ;) Well, I've blabbed enough.....(don't let the suspense get to you, you will defiantly be disapointed..:happy: Listen, and enjoy. My untitled Piano Solo in C Major. (name suggestions would be appreciated as well!) untilted Piano Etude in C - Putfile.com (any discrepincies in the score will be cleared up promptly with a simple question, I didn't really intend on distributing the music, you know, but making it legible for me.) ((I really want any feedback, criticism, negative comments, flames, threats against my mother, ANYTHING! Please, that would be lovely!)) Finale 2006 - [classical].pdf

putfile.com allows you to stream the mp3 once you've hosted it. I'm sorry, I just refuse to download anything. :(

Ha, it made me laugh. Take it as a compliment. The ending kind of sounded cheesy, but at least it sounded like something, and not a total mess, right? I think the whole piece could be expanded. Each movement longer. If anything the slow part needs to be longer, IMO. You did a good job building suspense for the third movement, I just think you could really push it a bit further. I like the overall idea, and it was nicely written. Good use of percussion, IMO. You have some really "driving' parts in there. I like, i like. I think what you have is great, and nothing needs to be changed, but I think expanding the overall idea would add quality to the piece ten fold.

I can't say anything negative about the winds, except some parts seemed a little too slow and drug on a little bit too much for a field show. I think the closer should have been much more uplifting. The whole thing was very dramatic and had a lot of feeling, but sometimes it just didn't seem like a field show at all. And I feel sorry for whatever poor drumline has to play those parts. ARE YOU TRYING TO BORE THEM TO DEATH? :P The mallets where fine........when you decided to actually use them. Now, I understand that every section shouldn't be playing the whole time, I understand that, but you have to think about it as a marching band show as well. Everyone needs to get the shine in, and while it is a good piece of music how it is, you have to think of it from a performance aspect as well. The last thing you want judges, or even the audience to capture is that the people out there are bored. The mallets weren't nearly as bad as the battery. In marching band percussion drumlines tend to lean away from the repetitive beats to keep say, a big band going, the parts are usually written to challenge the members, as well as fit in musically. And the percussion, especially the drumline can add a lot to the piece. I wish I could go into this more, but I've just woken up after a good 18 hours of sleep, and I'm not all here yet. But I'm thinking about going in there are revising some of the drumline parts just for the fun of it. Boy, do I love writing for battery. :toothygrin:

Well, what compliment's it the best can vary depending on the direction you are taking the piece. You know? Have you thought of what mood or anything the piece would be in?

Thanks again, for all of the comments. I find them very helpful. And I have a problem with counseling and medication. Specifically medication, which I plan to never go on again. But for the both of them, I feel as if I'm being defeated or using a 'crutch' when I do so, and I want to cope own my own, I don't want to destroy my creative self, because when I'm happy and stable, I'm consistent, but when I'm natural, I may not be consistent, but that's the only chance for true beauty to emerge. I want to deal with the ups and downs of composing just like every other composer does, while dealing with the severity of my moods. I think it's a great, but dangerously stubborn way to look at it, but that's the only way I can ever find a true smidgen of happiness in the course of my lifetime. I like what everyone is telling me, and I'm taking it to heart. And as for the girlfriend thing, I'm not going to rush out and get one, if I get a girl-friend, I'm going to have long term compatibility in mind as well as pure desire and I don't want to be stressing over a nuisance. But I find all of this very interesting, just how pure confidence can raise me and lower me in my abilities, and how so many psychological factors can play a part in my music. I just hope that one day it can show through my music, because it's impossible to reach with words. I feel so indifferent at times, and so very similar in the same breath. I only hope that my own depression never defeats me. I hope that I can learn to cope with my two conflicting sides and just do what I love. I just think a lot of this information, perspectives, and opinions are helping me, at least with the composing, and I greatly appreciate it.

This is quite charming. That's the word I like for this, charming. I liked it a lot, and I like your choice of the word "invention" rather than composition. I just like that for some reason, its a good way to look at it.

This is defined as a cadence. It is an arrangement I made myself from the popular mario theme. It contains: (battery drumline) Snares Tenors (Quads, quints, w/e.) Bass Drums (5) I wrote it a long time ago, and I have seemed to have lost the sheet music. Which would be great, I know, and I would love for someone to use it, but no sheet music, sorry. The recording is from finale 06, I believe, and I didn't take the time to level out the volumes, so the snare voice is a little too loud, at least for my liking. I should have defiantly brought out the tenors more, but it's too late now. Listen, and hope you enjoy. But going back to another thread, I think this undoubtedly proves that percussion can in fact, be musical! (And is this the correct forum for this, I'm confused.) mp3: Mario Cadence c - Putfile.com

Can you do this? I'm creating a battery percussion tap-accent exercise were they play unison and then switch out and it creates a nice groove effect. Unision 5/8 7/8 9/8 then the snares start on 9/8, tenors on 7/8 and basses on 5\8. Does anyone know how to accomplish this?

You write a lot with finale, and you can tell. It seems like a lot of ideas where placed at the convince of finale. I know myself, when writing with a notation program like finale one has the tendency to copy measures, and transpose them at finale's convince. I think if you would write on paper your music would be more meaningful, at least to you. If you take the time to write something on paper its going to be worth it. Plus theres just more of a human connection. You have to use your mind more with paper. But yea, I can defiantly tell you play those instruments. Maybe a little too much if you know where I'm gong..? The music just seems like it was written by a sole string player. It really comes off to me that way. The slow movements where very monstrous at times. Very slow, and barely creeping through, without any vivid suspense. It was rather boring at times. Like someone said before, you defiantly seem more comfortable at fast tempos. You seemed to repeat more in your slow tempos (maybe because it takes longer to write music generally at a slow tempo and a little laziness is showing through perhaps..? :D) , and repeating at slow tempos only works if theres a good purpose. You seem to be more along the lines of, this was good, let's hear it again. (Which isn't always a bad thing, but in this case I think it is.) You seem to have a voice for what you want, but you just aren't speaking clear enough if you catch my drift. I think a lot the repeating bliss can be settled by adding some dynamic and expression. I think all of those pieces would speak so much better with more expression. You defiantly have a good idea of what you want, and I think you could express it better that way. Just IMO. Well I hope this helped, and didn't come off negatively. I really think you have something going for you, you just need to dig a little deeper to what you truly want to do. I can hear all of the madness waiting to be released. :D

Drum corps tune their marching drums according to pictch. An F is commonly used in snares, tenors are done in intervals of thirds I believe, and basses is something else, quite interesting.

I find it even more ironic that I was thinking that just before I read this post. :O

Yea same here, no downloads.

I see nothing wrong with that aside from the fact I'm not accustomed to mallet percussion being noted that way. But I've seen it that way before. I know what one of those slashes mean. Others may not if they've never been exposed to different types of percussion. (Honestly, I've never seen it outside of a marching percussion venue.) But at that dynamic, I doubt anyone would even attempt to stick it otherwise. That would be quite difficult and awkward.

Wow, the ignorance. There's also no difference between an oboe and a rusty squeeze box. :whistling: Comparing percussion to a jogger is just out of the question. Drumming is about time, technique, clarity, color, and much of the same thing any instrument that gets out more than one note. Well as a matter of fact, drumsets have toms, batteri have basses and tenors, and so on and so forth. Anyone can take a snare drum and think of it as making one sound. Only a percussionist can do rimshots, crushes, stick shots, rim knocks, clicks, stick flips, all behind one snare drum... need I say more? You simply lack knowledge and understanding of percussion. I think maybe you should think about it more before you say something like that, no? Drumming is essential to a lot of music. Therefore, I think it makes it very musical.

This is kind of neat. Principles of Orchestration On-line - northernsounds.com

I know in finale you can open midi's and see all of the parts written out. That's good enough for me to see. But I s'pose I'm not the judge here. :P Can we do arrangements? As long as there's no copyright issue involved, or is it all original?

Yea, that is along the same lines of what I am saying. Mozart was simply writing for the aristocrats' rather than writing anything he wanted. So he just wrote what they liked...or whatever made them want more...and I think it turned out kind of 'snobbish' sounding, if we want to use that word. I don't disagree with you either. But I'm sure that's one of the only things that movie portrayed accurately. :P (Tom Hulce or something?...they really couldn't have picked a better man, but boy did they really make Mozart to be something mad)

If it's a double here and there I think it should be noted that way. But if it's a double stroke roll, like for snare drum, I like it with the slash marks. I think it's easier to read a triplet roll when it's triplets with a slash rather than 24 6th notes. In drum notation, I almost always prefer it slashed I guess. I've never seen it outside of that. I would be kind of taken aback if I saw that on let's say, vibes or something. When I'm writing for drums, I sometimes switch depending on what's going on. If the tenors have scrapes which can't be notated with slashes, I would notate all of the battery with open nation, no slash. But if it was a union roll, I will almost always use slash. Same with bases. Individual rolls get slashes, but bass splits are always written out. I just do whatever feels right, as long as it means the same thing, you can notate it however you want, but I obviously some ways are going to be more logical than others.

I see a lot of Mozart's music as being 'snobbish.' But I like that. It shows how good of a composer he was. He spent most of his later years in Vienna composing for the "snobby" aristocratic royalty, and that's what they perfered. I don't think it was because Mozart was stuck up at all. I never used the word snobbish per say...

This is my first ever actual string quartet. I really know nothing of strings, and you can tell through my music. Overall, it's delightful, but there's about four measures where something went wrong and it just doesn't sound good. I can never be finished with a piece, I suppose. This is in Bb, and I usually refrain from keys, but this seemed to work out nice. (except for a few notes..) I like the overall concept. The ending is rather abrupt but I had to put it there. I want some measures in between the ending part and the main part, but I can't seem to figure out what I want. This suits me for now. Well, I hope you enjoy. (meh, still haven't figured out how to get midi's, sorry.) Mp3 - String Quartet in Bb Major - Putfile.com (.pdf available on request.) String Quartet in Bb Major #1.MUS