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http://www.music.indiana.edu/department/composition/isfee/ It's important to know not just the ranges, but how the instruments operate in each part of their range. This site has real demos alongside the written music and fairly thorough explanations of the techniques available. I've seen a lot of resources like this and this is the only one I have no ...


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Others have already laid out good practical and technical advice, so my very general answer is that the trick (if you can call it that) is to be inspired. In my experience, if you sit down, whenever, and try to come up with a bunch of riffs, you can write a lot of them but you're going to think most of them are lame, unoriginal or otherwise "uncool". Now, ...


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I don't have to add a lot, because other users have said it, but here is another book suggestion, Figuring out Melody by David Fuentes. You can find it here. My advice is to sit down (ideally) every day and sketch a melody. One melody can seem to you like "meh, not really interesting" one day, but maybe after few months it could catch your interest when you ...


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The way I would teach melody writing would be as follows. Choose an instrument. This includes being familiar with its range and knowing what clef it operates in. A good knowledge about how its phrasing marks work is also advantageous. Pick a key. This includes instrument appropriate keys. We are not going to write melodies for guitar in Cb Major. Pick a ...


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There are so many tips... It will depend a lot on what sort of music you're hoping to compose, but let's take some simple poppy type song. An idea is that you write the chords that fit to a key. Say C major. The chords will be C, Dm, Em, F, G, Am and Bo. Write them on bits of paper, one on each. Turn them face down. Since the piece will be in C, that's the ...


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I don't know of a book -and I would be very surpised if there was any who would dare to give such an answer- however I would like to recommend that you start to build your own collection musical devices by listening works of your favorite composers and observating how you feel when listening certain passages and examining their characteristics. Moods and ...


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If you go back to the early development of "modern" music in the 17th and 18th centuries, there was a large system of conventions over this. Much of it was considered analogous to the conventions of rhetoric and oratory, based on classical Latin and Greek, and music was taught in conjunction with those subjects at "university level". For example Mozart, as a ...


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A simple answer: Dissonance is resolved by consonance. In other words, dissonance tends toward, or leads to, consonance. The way you get there is more interesting than where you are when you get there.


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"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 ...


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A dissonance is a point of harmonic (vertical) tension in a moment of music, mostly caused by the clashes of each notes overtones in the chord that's heard at that moment. If you were to play a C and a G above that C at the same time, that would sound relatively "consonant" because the distance from C up to G falls within the harmonic overtones for the C ...


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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 ...


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Check out the Bela Fleck and the Flecktones Christmas album. Lots of odd rhythms, but particularly the Twelve Days of Christmas. They play each day in that numbered time signature. Extremely creative. Twelve Days of Christmas


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A good way is to try and write a simple bassline, and see what sounds good. It's easy to come up with note clusters higher up where the root note is ambiguous, but much harder (but not impossible) to hide from it lower down the pitch scale. Also, make up a melody that fits your chords. Then write a bassline that fits that same melody, and that could point ...


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Years ago I played around with a language called KeyKit. It represents music as phrase objects and has concepts of notes, chords plus a ton of functions for manipulating and generating music both via coding and by using built-in, simplified graphical controllers. I think that the language is fairly simple to learn. I think the guy that created it still ...


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Patrx2 and Dom's answers are both very good. To add to them: Usually I determine the root (C or A) taking into account clues like: The happy or sad feel of it all I think Patrx said it quite well, I would add that minor sounds darker to most people than major, but adding meaning and emotional content to the sound is the function of the artist, it ...


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Check your phrase ends/points of cadence, also your "roof" and "floor" (the successions of highest notes in the treble, lowest notes in the bass). Dom is quite correct that a lot of music doesn't start with the tonic. Starting deceptively has been a valid technique since at least C.P.E. Bach and Joseph Haydn. Establishing a tonality is often an active ...


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You don't need to start on i or I on any piece of music and one chord alone will never tell you what key you are in. You need more context to actually know what's going on. The rest of the progression will tell you what key you're in especially when you come across dominants chords and cadences. If you encounter a lot of E7 chords I'd expect it to be in A ...


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You don't have to go that far Pat Metheny: Au Lait (from the Album OFFRAMP) written by Lyle Mays Or LIVE at 8:20 min in Lean back and enjoy! Wanna know how that looks on paper... http://freejazzinstitute.com/uploads/20080521041109_Ville.pdf ...


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They exist. You may not know where to look for them. Odd-time signatures (rhythms in 5, 7, 11, 13, etc.) are common in certain cultures. Odd-time signature songs and dances can be readily found in folk music from places like Greece, Bulgaria, and Turkey, and other nations in that geographic region, going back to antiquity. The use of odd-time meters and ...


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Dude, you don't need to be worried about it at all! Your song might not have even a chorus (or a bridge or whatever) and be very good! Don't be concerned about the amount of bars or verses. The most important is that sounds true. Don't follow formulas! A lot of Bob Dylan's songs have no chorus or bridges. Wikipedia knows nothing! ;) sorry my english


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'Middle eights' can be as short as 4 and as long as 24 bars! They are just often 8 bars long - the clue's in the words! Each and every song needs what it needs, and if a song you've written sounds good with a * bar middle, then so be it. The old adage - if it sounds good... Whilst there is no perfect formula for a song - V1, V2, Ch, V3, Ch, etc., a lot will ...


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I am a composer and I agree with tpburch. I am familiar with music theory but never studied it detail. Any good composer with a good ear will do a lot of those things naturally. As a musician, I can figure out just about anything that makes sound and translate it accordingly. Music theory or engineering won't teach you how to write good music. ...


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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 ...



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