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I am a composer!


1h
comment How to Write A Ragtime Piano Piece?
You really need to revisit your notation.
1h
comment How to create fast runs (i.e. speedy notes)?
My point is that you need to determine your own definition of "pleasing" - someone cannot answer that for you as it is subjective.
Dec
19
comment Why do baroque operas tend to have postmodernist stage designs?
This question is not off-topic as it actually relates historical and contemporary operatic performance practice. (Staging is an element of performance practice, and if you disagree, go dig up Wagner and listen to him.) That said, I voted that this question (despite very interesting!) is primarily opinion-based as I am not sure there is enough evidence to overwhelmingly support any particular individual assertion.
Dec
16
comment What do dotted stave lines mean?
Glad to help, anytime.
Dec
10
comment Roman numeral notation for a suspended chord?
@Tim - the movement shows the function of the line. Since the "4" is not a chord tone, people want to see what happens to it / how you get to the chord tone. Also, a "sus2" is really just a "sus4" in inversion, so the analysis would still be the same. The only difference here being that a suspended 2nd might resolve to unison, in which case the process is the same - only the numbers change.
Dec
10
comment Roman numeral notation for a suspended chord?
figured bass can be used as a part of roman numeral analysis to show functions of lines; specifically relating to non-harmonic tones.
Dec
10
comment Roman numeral notation for a suspended chord?
I'm not sure why this is up-voted - it is incorrect. If the harmony is functional, it is notated with figured bass. If it is non-functional, it is treated as quintal/quartal harmony and Roman Numeral analysis is no longer appropriate; therefore being notated using a different system.
Dec
10
comment Roman numeral notation for a suspended chord?
Actually, this is incorrect. Movement tones are notated using figured bass.
Dec
2
comment How is a chord progression with G#, D#m, F and G possible?
Just want to clarify that G# Major is an impossible key, therefore it must be Ab Major. Eb is the 5th degree or dominant chord, so that's normal. The F major chord is modal mixture if the chord quality doesn't serve a specific harmonic function (like a secondary dominant). Again, the G major chord is modal mixture unless it is the half-diminished leading-tone chord normally found in Ab major and functioning as such.
Nov
27
comment Room-wide humidity buffering
I'm with Dave on this one - there is historical precedent for humidity: if instruments are improperly stored, it directly affects musical performance. This question is just very specific.
Nov
26
comment Limits of Fortissimo and Pianissimo
You may want to amend your question and ask about practical dynamic levels. As others have mentioned, it gets to a point where it just looks silly. I've played music with: "fffffffffffffffffffffffffff" though to be fair the composer was being cheeky.
Nov
22
comment Are counterpoint and harmony mutually exclusive?
A few thoughts: counterpoint can be evident in implied independent voices with a solo instrument, much in the same way harmony may be implied. Actually, voice against voice motion is quite literally First Species counterpoint, even if they are parallel. Chords are notes heard simultaneously, regardless of the quality or number. Your reasoning for chords / harmony is fuzzy and unsupported. Even without your practical definitions, it is well understood and researched that linear motion preceded vertical function.
Nov
21
comment Resources for “popular” counterpoint?
@Clarinetist - you assume through commentary that much counterpoint (and through implication, polyphony) is evident in 21st century films. Most contemporary film music is energy-derived, not motivic; which forms the basis of long-form counterpoint.
Nov
18
comment What are the parts of a classical composition?
Agreed with Caleb here - there are many more questions the OP would need to answer before we could give a thoughtful response, and even then, the answer would be very long. In this instance, it is likely to be more helpful to suggest a book or two.
Nov
17
comment Practice advice: Struggling with alternative left hand and off beat right hand melody
I would practice each entrance only - isolate them and teach your hands when to come in together / separate. Once each isolated entrance is learned, add in one beat on either side of the entrance. Move outward from there.
Nov
3
comment What is the percentage breakdown of different time signatures and their rate of occurrence in popular music?
@mindTree - I'm quite well aware of procedural composition. My comment was hyperbolic, extended through my analogy. Note that I didn't express that your question wasn't appropriate for the site. I merely implied that this may not be the most efficient resource for your question. One would think that contacting the Library of Congress, or ASCAP would be a better use of your time. Additionally, you would need to have a clear definition of what defines "popular" as 100 years ago, the waltz was king, 70 years ago, it was swing.
Nov
2
comment What is the percentage breakdown of different time signatures and their rate of occurrence in popular music?
Musicians are altogether not interested is accumulating statistics of how many times things happen. We are interested in sounds, why they happen, and how they make us feel. This question is impossible to answer as it is impossible to certifiably quantify every piece of music written. It is akin to asking "what is the most popular number of tree rings" and asking for evidence from every tree in the Americas.
Oct
29
comment Debussy: Reflets dans l'eau: Rhythm Ambiguity
The edition you point out does not notate tuplets, which is kind of a no-no and indicates that it is pretty old / out of date (1905 as it is...) with standard notation practice. Metrically, each of the six groupings corresponds to a single triplet-eighth in 4/8 time. Metrically, since there are 6 notes in the last grouping instead of 8, it will of course be slower. The beaming also further supports the notion of 6 groups. #2 doesn't make sense as it would be beamed differently. #3 doesn't work because there would need to be a time signature change to indicate the tuplet - effectively 1/8.
Oct
27
comment Composing/Arranging for a String Quartet
Agreed with Matt here, you just need to watch your intervals / double stops. Remember that your string players need to be able to hear your intervals, so if you write dissonances, plan them intelligently. Also, plan gestures in relation to open strings - use them as much as possible.
Oct
26
comment How to make people interested in what we're teaching?
I voted for this as the answer is primarily opinion-based. This type of question is not new and if the answer to it were simple, the education system would be vastly different than what it is today. In part, students and culture change with time, so the answers we create and our roles as teachers must also change through necessity of preservation.