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25

Since you're looking for software to input a score that is still under construction, MuseScore (found at musescore.org) would be my go-to application. It's a GNU-licensed graphical score editor that has playback and range-checking abilities. In case you later want to engrave a finished score with LaTeX-like typographic quality, LilyPond is considered to be ...


17

C sharp major has seven sharps, D flat major has five flats. Out of the box, the latter is preferable. The former may be more appropriate when there is more material requiring "flattening" the key signature than otherwise. Now major is a rather sharp mode, so it's not quite unlikely. For example, a "proper" fully diminuished chord in C sharp features ...


15

NO, writing a tenor-recorder part for an oboist would be about as helpful as me giving you a sandwich to breath underwater. Each instrument responds very differently throughout their range, and while the core fingering principles may be similar (as with saxophone, flute, clarinet, and bassoon as well), each instrument has its own nuances. Fingering wise, ...


14

You have stumbled across the PENTATONIC SCALE. Of which there are two - major and minor. Ascending, by starting on F#/Gb, you have the major pent., start on D#/Eb and it's the minor. The five notes (hence pent!) work well and harmoniously together, with nothing that clashes (is dissonant). These notes work well together, as the 'avoid notes' as we call ...


10

Yes indeed there is a key of C Sharp Major (C# Major). But the key of C Sharp Major is the “enharmonic equivalent” of the key of D Flat Major. What that means is that all of the notes in the C sharp major scale sound pretty much exactly the same (to the human ear) as all the notes in the D Flat major scale – only they are notated (written) differently. ...


9

Absolutely not late at all. Not only is it never late, but you are extremely young. I started learning classical music at the same age as you (I am currently 28), and I now compose and play piano and am starting music school as a hobby (late night after work classes). I did all my theory learning via self study. You can definitely find resources online. ...


9

I think, Dom, that you would need to do a few things: Truncate the tonic - it will always be root and third. (This kind of truncation wasn't all that unusual in late Renaissance and early Baroque modal polyphony, by the way, even though the Locrian mode itself wasn't used at all.) Borrow procedures from the Phrygian mode, which is the closest in ...


9

Intro: G to E This could work chromatically. It doesn't really belong to any scale. You play G and by chromatically changing G to G# you go to E. Beatles had a similar progression on the verse of their song 'Honey Don't': They start with an E major chord that is followed by a C major chord. It creates a nice sound because ...


8

Welcome to becoming a composer. Instruments in general sound different in different parts of there range. A fourth will be a fourth where ever it's played, but how it sounds is slightly different due to this. When transposing something by a fourth, this can be a huge difference depending on where it lies for an instrument. A simple example to demonstrate ...


7

I'm not a programmer so I cannot say anything about the validity of the program but what I can say is that all of these parameters will not give you medieval music. I usually just completely abstain from interacting with these types of questions because I do not want to build an atmosphere of opposition in my post on this site but I think I can make a ...


7

You need to be humble, first and foremost. Especially as an undergraduate, accept and try everything that your teachers tell you - especially if you don't agree with what they say. Composers who believe they know best tend to learn little and their careers suffer as well. Write as much music as humanly possible. ALWAYS revise - especially when it's ...


6

I'm going to give a very cursory simplification for the answer because asking about Lydian Chromatic theory is just like asking about Set Theory or Serialism. Lydian Chromatic Concept Theory basically asserts that the lydian scale is more closely aligned to the natural, universal properties of sound than the conventional major scale. It explains and ...


6

It's not clear what your goals and requirements are for this information system -- and that has a huge bearing on the answer. If, for example, your software is trying to analyze the harmony inside of a single piece, then yes, symphonies definitely will modulate (change keys) all over the place, as Wheat Williams describes in his excellent answer. And this ...


5

If I understand Pat's answer he seems to be saying that composers of the era were not consciously writing music that obeyed these principles. So am I to take it that at no point was a composer thinking "Ok, so this is the fundamental voice-leading note here, and these other notes are not, and this fundamental note connects to this fundamental ...


5

Look what the score is doing: you have an oscillation rising from F♯ in the initial RH part, moving up to C♯, but artfully dodging A♯. At the same time, you have an accompaniment that consists largely of the fifth D-A alternating with the auxiliary notes E-G. The entire section is acting like an elaboration of a D major chord in a kind of quasi-Lydian ...


5

"it seems to me like dissonance can be used like a theme for music." What is the proper understanding of the use of dissonance in composition? First off, dissonance is the general term for a clash or tension in a single chord or sound, such as one might have playing a half step (minor second) or a tritone (diminished 5th, augmented 4th). Consonance, its ...


5

Historically these modes arose as ways of describing and categorizing music that already existed. For medieval liturgical song, or Gregorian chant, the system of modes made it easier to match antiphon chants with a psalm tone. The right psalm tone would mean that at the end of the psalm it was easy to go back and sing the antiphon again. The modes describe ...


5

Elaine Gould's excellent book Behind Bars includes a section on humming which gives three options for notation: Humming is indicated by a verbal instruction hum or bocca chiusa, abbrev: b.c. (Italian, 'mouth closed'). It is important to place the instruction above the stave, so that the singer does not articulate it as if it were sung text (a). Where ...


5

No, it's absolutely not necessarily. It can certainly be helpful in a number of ways, but experimentation and perseverance can get you far. One example of an accomplished tone-deaf composer is Robert Fripp. It's not necessary to know exactly what note you're hearing to know that it sounds good! That test is hard. As the page says, "excellent musicians ...


5

B7 is the dominant of Em (the relative minor of G), so the first two chords appear to be preparing a cadence to Em. Instead, there is a C chord, which is 'almost' Em - either IV in G or VI in Em. The A chord has a similar function as the B - it can be taken as a secondary dominant, leading to D (which isn't played). It also is IV of Em - a major subdominant. ...


5

Adding to the narrative in other answers, here is a chart that might help further explain why brass players tend to prefer sheet music written in keys with flats. As is shown, written keys that exclude the “worst-to-play usual notes” (elaborated below) on common brass instruments (except French horn) are overwhelmingly keys with flats. This is ...


5

If I understand you correctly, it should be something like this:


5

An E chord COULD be used as the dominant of the relative minor. But in this case I think he's just shifted the tonal centre up a third as a contrast, because it sounds good- after all, that's what he SAID he's done! There's nothing wrong in you saying so too. It WOULD be wrong to invent a connection with a relative minor that never actually arrives.


5

Once a melody is composed and written in one key using the notes from said key's corresponding scale, that same melody can then be "transposed" (converted) to any other key that exist in Western music. The process of composing any piece of music follows a strict methodology. Below I will explain the process of transposing any piece of music from one key ...


4

Here is a non-comprehensive list of such pieces: http://tvtropes.org/pmwiki/pmwiki.php/Main/TruckDriversGearChange Under the "Subversions" sections you can find some pieces that modulate down. e.g. Inverted in "Tonight" from West Side Story, which moves down a half-step with each successive chorus so the final one can end calmly and quietly.


4

There is a notation form I have come across called Sagittal notation. It seems pretty comprehensive for microtonic notation. The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the ...


4

In principle you could use the Italian marking "M.S. solo" meaning literally "Left hand only". But "Solo" might be read with a different meaning (i.e. "this piece is for one player"), even though that would seem to make little sense in your context. I think you would be better using a full sentence in your native language, either in the title or at the start ...


4

I guess, I'd just write "(hummed)" instead of (or in addition to) the "mmm" ... That should be clear.



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