GMG Classical Music Forum

The Music Room => Composing and Performing => Topic started by: snyprrr on December 03, 2010, 10:36:03 AM

Title: Analyze This!: snyprrr's Composition Page
Post by: snyprrr on December 03, 2010, 10:36:03 AM
UNDER COINSTRUCTION

You just wait!









uh,... yea, will this drop from page1 in record time? ::)
Title: Re: snyprrr's Composition Page
Post by: Bulldog on December 03, 2010, 10:39:14 AM
UNDER COINSTRUCTION

You just wait!









uh,... yea, will this drop from page1 in record time? ::)

I hope not.  I'm very interested in how coins are constructed. :D
Title: Re: snyprrr's Composition Page
Post by: Scarpia on December 03, 2010, 10:53:27 AM
UNDER COINSTRUCTION

You just wait!









uh,... yea, will this drop from page1 in record time? ::)

Maybe you could have posted the thread after you decided what to put into it.   ::)
Title: Re: snyprrr's Composition Page
Post by: snyprrr on December 03, 2010, 11:06:07 AM
Maybe you could have posted the thread after you decided what to put into it.   ::)

That was the 2017 plan! ;)

I'll get a horse (to put before the cart) so enough!



Either way, the first item up for consideration will be this guitar piece, Tekh (touch? in Greek). The plan is for extreme difficulty and extreme uniqueness, which, I think, for Guitar Music is a real challenge, yet I think I have found a way.

I have about seven sections, and have begun writing (in regular notation) in a few of these, but, my writing capabilities are turtle-like. Much of the piece, in order for me to write it (there are many instances of different strings playing the same not,... a characteristic unique, I think, to the guitar (I can ALMOST play six e-notes at the same time!)) I have had to use up to 3-4 staves. But, it looks correct.



Title: Re: snyprrr's Composition Page
Post by: snyprrr on December 03, 2010, 11:22:07 AM
When "thinking" about writing Serious Music, I become paralyzed. It seems I am NOT like Shostakovich or Villa-Lobos, who could Compose on a construction site. It seems I need a hermetically sealed studio enviroment, complete with dancing girls and incense, to get me in the "mood".

I have no discipline, I'm terribly lazy, and if I can see it in my head, why should I write it down? These are some of the obstacles I face.

The fact that I want such a difficult piece, also, works against my lazy attitude towards writing sooo many notes. I remember Magnus Lindberg gloating that he had never written an Adagio, haha! Now I understand!



So far, with this guitar piece Tekh, I am happy with the way it begins. I want to say more, but I am notoriously paranoid too, haha! I think the slightest thing I give away will ruin everything. I can see what might have happened to Rachmaninov (in the confidence dept).

I am also having to limit all the guitar possibilities, which effects to keep, which to discard. I have had to go back to the 70s of Kagel, where barking and stomping were more important than notes, and I have decided to include percussiveness on the guitar body, and maybe even some foot accents (like a bass drum) for a bassy boof on certain hits, but I have decided to leave out the guitarist's mouth as part of the instrument. I do intend most of the pyrotechnics to be limited to the fingerboard.

Also, certain two-handed techniques will have to be re-evaluated. I'm working on some sounds where you will hear the tone sound from BOTH sides of the string.



Have I every finished ANYTHING? That will be one of the questions I hope this Thread will answer in the positive. ;)
Title: Re: snyprrr's Composition Page
Post by: snyprrr on December 03, 2010, 02:04:32 PM
btw- we've almost caught up with Henning's Headquaters, so, let keep it pumping. :-*
Title: Re: snyprrr's Composition Page
Post by: snyprrr on January 13, 2011, 12:58:12 PM
ok, I'll just put it out there:



That guitar piece I'm working on, well, very close to the beginning, I've fallen into a spot where the music is stuck, rocking, between two changing chords: one, having 'B' as the leading tone, and one, having 'D#' as the leading tone (ultimately, both chords drawing towards 'B Major').

The section itself is working out fine, as I shift the chords whilst keeping the leading tones strong, but, considering the totally dissonant section which is to follow, and, that this section is beginning to take on a cosmic/tonal character,... I'm having difficulty breaking out of this 'obsessive' 'tyranny' that I've found myself in.

As the two chords slowly go back and forth, I've been keeping the low 'E' string going too, increasing the soft, tonal sound.



I'm looking for the most jarring, yet appropriate notes for the transition, but I'm having difficulty.

The last chord, before the one I haven't found yet, is, either, an 'E5' chord spread over five strings (with 'B' leading tone), or an 'E Major 7' chord over five strings (with 'D#' leading tone). Either chord would have the low 'E' string open as a bass tone.



The best chord I've come up with so far is:

1-X
2-X
3-1
4-1
5-0
6-1



The point is, I'm going along in this ultra dissonant way, and I get hung up on an ever more consonant section, when, in fact, I'm supposed to be getting back to the regular chugging of the dissonant music.

I guess,... I'm trying to go from a section where 'B' and 'D#' are it, to a section where 'Bb' is it, and nothing is working for me to my satisfaction. Hmmm. :-[
Title: Re: snyprrr's Composition Page
Post by: canninator on February 09, 2011, 04:06:43 AM
Hi snyprrr, how's the piece coming along? I was listening to a new recording of Ginastera's sonata for guitar today and thought it is something you should definitely check out. The Scherzo in particular uses lots of extended technique for the guitar including lots of percussive effects. CDs are pretty easy to come by but the score you would have to purchase. Don't have it myself or I would send it.
Title: Re: snyprrr's Composition Page
Post by: snyprrr on February 09, 2011, 06:47:44 AM
Hi snyprrr, how's the piece coming along? I was listening to a new recording of Ginastera's sonata for guitar today and thought it is something you should definitely check out. The Scherzo in particular uses lots of extended technique for the guitar including lots of percussive effects. CDs are pretty easy to come by but the score you would have to purchase. Don't have it myself or I would send it.

I've been meaning to get back to you. Might as well do it here!

Your first note gave me a lot to think about. As far as percussive, I realized you might be implying the use of any foreign object,... this of course would expand the percussive palette. For my purposes, I'd like to concentrate only on what the hands can do. For that reason, I offer:

1) Nails on the body

2) Fingers on the body

3) Palm fat on the body

4) Fingers/Nails on the neck.headstock

I must be missing something? I just have been banging around on the thing, and I just don't think I'm getting that many DISTINCTIVE sounds. The dull thud of the palm, or the click of a nail, of the rat-a-tat-tat of the fingertips,... but what am I missing?

Finger taps on the top of the body, to me, don't sound that different from finger taps on the SIDE of the body,... or the side of the body and the neck,... in a concert application, are these sounds really that distinct?

One thing I have been considering is a foot stomp along with a palm/body thud, as long as the shoe/floor situation yields a proper sound.


One thing: there may be a lot going on, where a tap/thud is only going to be one sound amongst many (string snaps, harmonics, other special effects), so, 2-3 generic percussive sounds (that are distinguishable from one another) might be all that's needed.


btw- I will check the Ginastera.



Another thing that appears to be developing in this piece are the different ways of 'scraping' the strings, which, on a classical, really only works on the 3 bass strings. I've been working on the 'long scrape' (similar to what rock guitarists do with the pick scraping down the string), the 'variable speed slide', which makes a high, whistling sound when your finger slides up and down (this is that 'unwanted' sound when we switch positions), and the 'short scrape' on E6, which sounds like a creaky spring.

On the top 3 strings, running your fingers up and down them yields a sound similar to breathing (if done in an 'in/out' manner), which is definitely making it in (though, this takes the piece into dangerous territory as per execution).



As to our initial mss.,... did I mention Elliott Sharp? Punch in 'Elliott Sharp solo' on YouTube and check that viddie out. He has some interesting ideas (though he uses open Eb tuning, so it's easy), but he also appears extremely sloppy (compared to a classical guitarist). At first I was conquered, but, after a while, I got what he was doing.



Also, what do you think about plucking the fretted string from the Nut side of the equation (instead of from the Bridge/normal side)? You can still get tones,... I just wonder if all classical guitars will have the same scale?


I'm reeeally lazy, and already I have written A LOT of notes on paper (first draft),... oy!,... how do they do it??? :o discipline, discipline, discipline
Title: Re: snyprrr's Composition Page
Post by: snyprrr on March 07, 2012, 10:45:07 PM
Hi snyprrr, how's the piece coming along? I was listening to a new recording of Ginastera's sonata for guitar today and thought it is something you should definitely check out. The Scherzo in particular uses lots of extended technique for the guitar including lots of percussive effects. CDs are pretty easy to come by but the score you would have to purchase. Don't have it myself or I would send it.

Well, it's a year later! :o :'( :-[

Now that I see it'sa been a whole year, I'm disgusted with myself. >:D

I have been working on it lately. I discovered Arthur Kampela, who writes really funky sound stuff, and yes, the Ginastera was helpful.

I'm just depressed now. :'(
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 06, 2012, 05:10:41 AM
ok, I'll just put it out there:



That guitar piece I'm working on, well, very close to the beginning, I've fallen into a spot where the music is stuck, rocking, between two changing chords: one, having 'B' as the leading tone, and one, having 'D#' as the leading tone (ultimately, both chords drawing towards 'B Major').

The section itself is working out fine, as I shift the chords whilst keeping the leading tones strong, but, considering the totally dissonant section which is to follow, and, that this section is beginning to take on a cosmic/tonal character,... I'm having difficulty breaking out of this 'obsessive' 'tyranny' that I've found myself in.

As the two chords slowly go back and forth, I've been keeping the low 'E' string going too, increasing the soft, tonal sound.



I'm looking for the most jarring, yet appropriate notes for the transition, but I'm having difficulty.

The last chord, before the one I haven't found yet, is, either, an 'E5' chord spread over five strings (with 'B' leading tone), or an 'E Major 7' chord over five strings (with 'D#' leading tone). Either chord would have the low 'E' string open as a bass tone.



The best chord I've come up with so far is:

1-X
2-X
3-1
4-1
5-0
6-1



The point is, I'm going along in this ultra dissonant way, and I get hung up on an ever more consonant section, when, in fact, I'm supposed to be getting back to the regular chugging of the dissonant music.

I guess,... I'm trying to go from a section where 'B' and 'D#' are it, to a section where 'Bb' is it, and nothing is working for me to my satisfaction. Hmmm. :-[

ok, so I've been working on this piece for almost TWO YEARS?? >:D!! ????? :o!!

Wow, I remember being there... I must say that this piece has come a long way. I'm furiously looking for solutions to all these 'linking bits' so I can 'chain' together what I have so far (which, all together, will form 'Part 1' (out of two)). Aye, this is truly WORK!! When I get 'Part 1' all together, then I'm going to fully frontally assault the 'Part 2' toccata,... oy, all those notes. :'(

I HAAAAAAAAAAATE WRITING!!!!!!!!!!!!!!!! AHHHHHHHHH!!!!!!!!!!!!

Coming here with a pop/rock background, I'm so used to just PLAYING something,... THIS is brutal!! :'(

Still, I can't wait for response. I'm expecting it to be quite a piece (for guitar). I have purposely made it unique and different, and I can tell you ... well,... let's not get too ahead of ourselves,... but, I DO consider myself a guitarist, so, I expect not failure.


The linking section I'm working on now is really giving me fits, but I'm learning about how to apply SOLUTIONS,... which aren't always what I initially started with,... but, as long as the finished bit 'sounds' ok, well, who am I to complain?

Aye, it'd be nice to accomplish SOMETHING in this life. :(

Onward, forward.

Carry on.... stiff upper lip, chaps...
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 13, 2012, 07:10:49 PM
ok, I'll just put it out there:



That guitar piece I'm working on, well, very close to the beginning, I've fallen into a spot where the music is stuck, rocking, between two changing chords: one, having 'B' as the leading tone, and one, having 'D#' as the leading tone (ultimately, both chords drawing towards 'B Major').

The section itself is working out fine, as I shift the chords whilst keeping the leading tones strong, but, considering the totally dissonant section which is to follow, and, that this section is beginning to take on a cosmic/tonal character,... I'm having difficulty breaking out of this 'obsessive' 'tyranny' that I've found myself in.

As the two chords slowly go back and forth, I've been keeping the low 'E' string going too, increasing the soft, tonal sound.



I'm looking for the most jarring, yet appropriate notes for the transition, but I'm having difficulty.

The last chord, before the one I haven't found yet, is, either, an 'E5' chord spread over five strings (with 'B' leading tone), or an 'E Major 7' chord over five strings (with 'D#' leading tone). Either chord would have the low 'E' string open as a bass tone.



The best chord I've come up with so far is:

1-X
2-X
3-1
4-1
5-0
6-1



The point is, I'm going along in this ultra dissonant way, and I get hung up on an ever more consonant section, when, in fact, I'm supposed to be getting back to the regular chugging of the dissonant music.

I guess,... I'm trying to go from a section where 'B' and 'D#' are it, to a section where 'Bb' is it, and nothing is working for me to my satisfaction. Hmmm. :-[

Well, I find myself hear at this same juncture again. I'm just going to lay it out, and yes, I AM making a little harder on myself than it needs to be.

I have two chords. One is the last chord of the previous part, and the other is the first chord of the next run. The chords are:

X
X (or '0', very light)
8
8
9
0

and the first chord of the next bit


NEIN NEIN NEIN

Look, I looking for the most remote chord to precede this:

X
0
3
2
4
0

which is kind of an F#7 chord. I need a shocking chord right before that. The 'C Major' trick isn't working here. I was thinking a 'g minor', which is ok, but not quite. Should I just try every major and minor chord until I hit an accident?




Also, what non-obvious chord would you play before this?:

X
3
6
0
4
2

f#minor6
Title: snyprrr's Composition Page
Post by: Leo K. on August 14, 2012, 05:57:19 AM
In that situation, I usually try every living chord until one sounds right, also, I play the song in my mind and listen with my inner ear, hearing for the right chord to pop up. Sometimes switching instruments helps too, like playing the song on a piano if one is available :)
Title: snyprrr's Composition Page
Post by: Leo K. on August 14, 2012, 05:58:52 AM
Oh, and sometimes the opposite of shocking works best, try a conventional chord change too!
Title: Re: snyprrr's Composition Page
Post by: Cato on August 14, 2012, 06:27:01 AM
In that situation, I usually try every living chord until one sounds right, also, I play the song in my mind and listen with my inner ear, hearing for the right chord to pop up. Sometimes switching instruments helps too, like playing the song on a piano if one is available :)

Good advice, Leo K !

Here is my idea...free of charge!   :D

Precede your F#minor 6 with a vicious strummed crescendo on C and then add F, then Bb, then Db
(final chord C-F-Bb-Db) which you can then "resolve" pianissimo into your F#minor 6 !   :o
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 14, 2012, 11:51:18 AM
Good advice, Leo K !

Here is my idea...free of charge!   :D

Precede your F#minor 6 with a vicious strummed crescendo on C and then add F, then Bb, then Db
(final chord C-F-Bb-Db) which you can then "resolve" pianissimo into your F#minor 6 !   :o

I like your 'stacked 4ths',... try moving it down to G-C-F-Bb,... wow, remember I was toying with the g-minor, ha, well, here is almost the same chord sound, but with the nice '4ths' wash, and when I play it:

X
X
3
3
3
3

going into the f#m6:

X
3
6
0
4
2

HEY NOW! :o, thaaat's falling nicely on me. What do you think, Cato? Your idea, down a fourth?


In that situation, I usually try every living chord until one sounds right, also, I play the song in my mind and listen with my inner ear, hearing for the right chord to pop up. Sometimes switching instruments helps too, like playing the song on a piano if one is available :)

Yes, very good, thanks! :-*


I have a feeling there's a major major line to be crossed here with this piece shortly. Success can be a terrifying thing. ???


Great guys, that's for the shot of juice! Sometimes all you need is for someone to just care enough, no?
Title: Re: snyprrr's Composition Page
Post by: Cato on August 14, 2012, 12:54:53 PM

I like your 'stacked 4ths',... try moving it down to G-C-F-Bb,... wow, remember I was toying with the g-minor, ha, well, here is almost the same chord sound, but with the nice '4ths' wash, and when I play it:

HEY NOW! :o, thaaat's falling nicely on me. What do you think, Cato? Your idea, down a fourth?

Yes, very good, thanks! :-*


Sure, whatever tickles your ears!    8)


Great guys, that's for the shot of juice! Sometimes all you need is for someone to just care enough, no?



That's us!  We take care of our members!   0:)
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 24, 2012, 07:19:44 AM
I am tantalizingly close to spackling together the entire first 'Part' of the guitar piece, ready for criticisms and suggestions. I imagine all this lasting about 6 minutes!, which really seems like quite something to me. 6 minutes, woo hoo!! That does put us on pace for about a 10 minute piece.

Of course, now, I'm starting to get the 'what is this shit?' voices, but I know to ignore them and just trudge forward. So WHAT if it's 'shit'? I like to think I have some objectivity, and I do think this piece is 'different' and I think people will read the music and be interested in it. It certainly is a monster pain to play (I can't play it for people), so, I wonder if that will attract or repel.

Give me a little while longer and I'll give you all the opening sequence. I can't wait for your horrified reactions! And... by 'horrified', I mean, it really DOES 'sound' like shit, haha!! It is grindingly dissonant from the outset, with a gaggle of unwieldy chords that will have strings slipping out from beneath your fingers. I have actually tried to 'bring the pain' here, and I do wonder if people will decide that this piece is not conducive to their fingers' health. Hmm...

Anyhow, I've probably talked up the piece too much and you'll be disappointed! I'll go back and add a few more 'shockers' just to keep you in line!

I feel like a crackhead working on this piece. People around me are getting pissed. :o >:D :-\
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 25, 2012, 07:38:51 AM
Waaah!! :'(

I need sooooooomeone to pay attention to me or I'll just die I tell you. :'(
Title: Re: snyprrr's Composition Page
Post by: petrarch on August 25, 2012, 08:28:08 AM
I think we were all giving you a little while longer, waiting for the opening sequence...
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 25, 2012, 09:58:18 AM
I think we were all giving you a little while longer, waiting for the opening sequence...

Haha!! :P Oy, I'm such a drama junkie. ::) Yes, I need to take a walk in the woods and eat some food! 8)

Oh, you are good! ;)

..."just apply oxygen"...
Title: Re: snyprrr's CP: 'TEKh' 14 OPENING CHORDS!!
Post by: snyprrr on August 25, 2012, 07:01:36 PM
ok, here goes:


                                                                      TEKh
                                                                                    for guitar
                                                                          (OPENING 14 CHORDS)


First, there is a slightly tricky opening. Set tempo at 1/4note= 148. Time signature for the first three measures is 3/4, then 4/4 through to the end of the example.

Attack is pretty consistently Sfz, but, you'll see that each chord needs its own personal examination. Generally, play each chord as loud as possible to make all the notes come out equally well. I'm putting an 'accent' over every single chord in this whole example.

START:

First, there is one measure of silence, then a second measure with a 1/2note rest and an 1/8note rest followed by the up-beat:

X
X
X
0
0
3

into one measure of

X
X
1
0
0 (held over)
3 (held over)


Now, rit. the next chord. All chords from here on out are made up of 1/1notes (whole notes): (Time sig. is now 4/4 for the rest of this example)

X
play the natural harmonic 'D#' right before the 4th fret
play the natural harmonic 'B' right before the 4th fret
1
0
2


Now the tempo is rit. to 1/4note = 118 for the rest of the example, playing each chord as a steady whole note:

play natural harmonic 'E' on the 5th fret
X
play natural harmonic 'D' right after the 3rd fret
0
1
0

and then:

X
play the natural harmonic 'D#' right before the 4th fret
1
1
0
0

and then:

X
X
2
0
4
1

and then:

X
1
3
2
0
2

and then:

X
0
5
1
0
4

and then:

X (playing the natural harmonic 'G#' just before the 4th fret is optional)
1
3
0
4
0

and then:

X (playing the natural harmonic 'G#' just before the 4th fret is optional)
0
2
6
3
0

and then:

play the natural harmonic 'B' on the 7th fret
0
6
0
7
6

and then:

play the natural harmonic 'B' just after the 3rd fret (not playing it is optional)
0
5
0
4
5

and then:

X
0
3
0
8
7

and then:

X
0
3
3
6
0

and then:

X
X (playing the open 'B' is optional)
8
0
4
8

and then:

X
3
6
0
6
0

and that's all you get! I humbly await the judgment of God and man. I know it's ugly. Could it have been any other way? :(

ENJOY! ;D


Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: k a rl h e nn i ng on August 26, 2012, 04:33:41 AM
Ah, ascii tablature!
Title: Re: snyprrr's CP: 'TEKh' 14 OPENING CHORDS!!
Post by: Cato on August 26, 2012, 05:17:04 AM
ok, here goes:


                                                                      TEKh
                                                                                    for guitar
                                                                         
ENJOY! ;D

At first glance I thought the title was a Klingon word!  :o

But then thought it also looks very Xenakisian
Title: Re: snyprrr's CP: 'TEKh' 14 OPENING CHORDS!!
Post by: snyprrr on August 26, 2012, 06:07:55 AM
At first glance I thought the title was a Klingon word!  :o

But then thought it also looks very Xenakisian!

Yes it does!! ;) ;D
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: snyprrr on August 26, 2012, 06:08:53 AM
Ah, ascii tablature!

Is there another way? ???
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: ibanezmonster on August 26, 2012, 07:13:27 AM
Is there another way? ???
Guitar Pro is worth checking out...

I played through the chords, and yeah, nice chord progressions!  8)
They sure are creatively awkward.


the only one I didn't find possible:
Quote
play natural harmonic 'E' on the 5th fret
X
play natural harmonic 'D' right after the 3rd fret
0
1
0
doesn't seem possible to hit the high note without hitting anything on the B String



Playing through these, I don't think simply playing through them at loud whole notes is the best idea. I think that is a fine basis, but it'll really sound much better if you change up the dynamics a bit and maybe even stretch a few of those chords to be slightly longer than a whole note. You could have a pattern on the low E string that is somewhat between trem picking and a galloping rhythm, played pp. Not very big changes, but this is what I did when playing through these and it sounds great.
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: snyprrr on August 26, 2012, 08:14:45 AM
Guitar Pro is worth checking out...

I played through the chords, and yeah, nice chord progressions!  8)
They sure are creatively awkward.


the only one I didn't find possible:doesn't seem possible to hit the high note without hitting anything on the B String



Playing through these, I don't think simply playing through them at loud whole notes is the best idea. I think that is a fine basis, but it'll really sound much better if you change up the dynamics a bit and maybe even stretch a few of those chords to be slightly longer than a whole note. You could have a pattern on the low E string that is somewhat between trem picking and a galloping rhythm, played pp. Not very big changes, but this is what I did when playing through these and it sounds great.

Great!

Yea, that one chord I just added that top note to see if anyone could do it. Check! ;)


I think the dynamics are obvious to each chord,... you probably played it the way I really meant,... just as long as each chord's 'integrity' comes through,... and yes, I will have to check the 'stretching', I think you're right here too.

I'm not quite sure what you mean with the bass trembling. You mean, hitting the chord, and then 'rumbling' the bass notes tremolo fashion (arpeggio) like a low thunder?

Frankly, you're right that these are really just 'building blocks'. I would almost just keep it the way it is and then let the performer work through the fine points (like you did), but, then, I might get results I hadn't really intended (but, if they're good ideas, they're good ideas).


This sequence is only about 1/4 or 1/5 of the entire opening section. If you've enjoyed these chords, then I'm encouraged that you will find the rest equally interesting. Cool! Great!
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: North Star on August 26, 2012, 08:52:29 AM
I agree with everything in Greg's post.
Trem picking = tremolo picking
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: k a rl h e nn i ng on August 26, 2012, 11:15:08 AM
Is there another way? ???

Well, for us non-guitarist composers (e.g.) it is unintelligible.

Not that I've known that ever to stop you before ; )
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: ibanezmonster on August 26, 2012, 05:18:43 PM
I think the dynamics are obvious to each chord,... you probably played it the way I really meant,... just as long as each chord's 'integrity' comes through,...

I'm not quite sure what you mean with the bass trembling. You mean, hitting the chord, and then 'rumbling' the bass notes tremolo fashion (arpeggio) like a low thunder?
Hmmm... well, I'm playing it slightly different each time. If you had Guitar Pro (you know, you can just download it  ;) ), it would be easy to show you what I'm talking about.

Playing it through now, I'm playing most of the chords quietly, and only a few loudly. But I'm not sure how well that would connect to the next section. I'm messing around with that low note idea, and I have a new one that involves something interesting:

1. Strike chord, holding LH in position the entire duration, until next chord is played. Let ring for a 1 quarter + 1 eighth note, then...
FILL: 2. Use this rhythm for the fill: 3 triplet sixteenth notes + 1 eighth note (a galloping rhythm). Use pianissimo dynamics.
3. Play fill like this: artificial harmonics created by picking the note near the bridge, touching the string slightly with your thumb. Play a rhythmic figure described in Step 2. Then, repeat that, but this time go up slightly higher along the length of the string. Repeat again and again as desired. The effect is that you'll hear the harmonic series, but it'll be different each time if the note on the low E string is different. It might be A# harmonic series, G harmonic series, etc., whatever... Maybe I'm naturally interpreting this as a spectral style.  :D 

So I think your chords would be held out for a few bars in this case (when these types of fills are done).

My idea/interpretation, at least.
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: k a rl h e nn i ng on August 27, 2012, 01:45:34 AM
Seems you have some compositional decisions yet to make, snypsss. Finding materials you like, is a fine (even important) step. But: there's more thrilllls yet to come! : )
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: snyprrr on August 27, 2012, 05:31:58 AM
Seems you have some compositional decisions yet to make, snypsss. Finding materials you like, is a fine (even important) step. But: there's more thrilllls yet to come! : )

Yes, I'm definitely learning that once you have the 'blocks', they still need 'clothes',... aye, every consideration has its own consideration! ???

This mere act of putting up chords and getting reaction has really just given me a zoom zoom zoom,... if I was languishing before, I am now reenergized. I am yet tantalizingly close to finishing the entire 'Part A' (out of two parts), but, as you note, there is still the dotting of the 'i's and crossing of the 't's. Still, just having the undergirding is enough for me right now.

The way Greg's been going at it, I should maybe just leave some decisions to the individual performer? Buuut,... that could lead to unintended consequences?,...

Karl, I'm sorry you can't read the chords (if you have a guitar, just read the fret numbers from top to bottom, top being high string, bottom being low string,... surely you have a guitar teacher in your school (uh, I AM assuming you teach at a school,... sorry if I have been assuming this if you're not,... but,... you must?!?!)). I was really wanting your feedback also. I will no doubt send you the music when completed, and yes, I AM writing this out traditionally,... ugh, boy do I need one of those 'play it into the mic and paper comes out the other end' do-hickeys!! But, making me write it out makes pretty sure that I'm getting what I think I am. My conductor friend has had enough of my rhythmic tapping questions, haha!! ::)


Greg, it's still early (caffeine) and I'm still trying to get through the 'trem picking' idea. I did have the one thought, that, after I hit a chord, I can gently 'touch' the low 'E' string with my finger to get that 'nnnyyywwwwwrrrrr' sound (you know, when you really snap the low string and then 'dampen' it with your finger and it makes that 'whirring' sound?,... has to be done very carefully).

Greg, your natural interest is very uplifting to me. Thanks! ;)


btw- my indigestion and queasy tummy flip flops have exponentially increased since I 'revealed' by 'baby bump', haha!! BRING ON THE PICKLES AND CHOCOLATE!! :P :-* 8)


I HAVE TWO MORE (sorry) small links to link up before I go through the entire Part A with a fine tooth comb. Sex would help.
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: snyprrr on August 27, 2012, 06:58:54 AM
Seems you have some compositional decisions yet to make, snypsss. Finding materials you like, is a fine (even important) step. But: there's more thrilllls yet to come! : )

A struggle, more or less unconscious,
between the creator and the interpreter
is almost inevitable. The interest of a
performer is almost certain to be
centered in himself.

TS Eliot, The Sacred Wood

(from 'The Compleat Conductor' by G. Schuller)
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: petrarch on August 27, 2012, 07:15:47 AM
Yes, I'm definitely learning that once you have the 'blocks', they still need 'clothes',... aye, every consideration has its own consideration! ???

Indeed, it is all part of the creative process--in my experience, it is a positive feedback loop that leads you further into the nature of the work and very often quite far from where you originally imagined it would be.

The way Greg's been going at it, I should maybe just leave some decisions to the individual performer? Buuut,... that could lead to unintended consequences?,...

That is a decision that only you can make--if you frame it like it "could possibly lead to unintended consequences", then it suggests this is not the right time to do that.

Karl, I'm sorry you can't read the chords (if you have a guitar, just read the fret numbers from top to bottom, top being high string, bottom being low string,...

I can't read guitar tablature though I am sure with a little bit of effort I could get there, but if you want to widen the discussion to as broad an audience as possible, you should use standard staff notation. An actual recording or MIDI rendition would also go a long way.
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: North Star on August 27, 2012, 09:32:56 AM
Guitar Pro is nice because it creates both tablature and standard notation.
And Karl, as a Berlioz fan, you should know how to play the guitar  ;)

Open strings from high to low, and the number tells how many semitones to add.

e
B
G
D
A
E
Title: Re: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: k a rl h e nn i ng on August 27, 2012, 11:47:19 AM
... I can't read guitar tablature though I am sure with a little bit of effort I could get there, but if you want to widen the discussion to as broad an audience as possible, you should use standard staff notation. An actual recording or MIDI rendition would also go a long way.

Aye; I can decode the tablature, but that is just enough like work that I prefer to continue the labor of my own composition : )
Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: ibanezmonster on August 27, 2012, 12:02:53 PM
I did have the one thought, that, after I hit a chord, I can gently 'touch' the low 'E' string with my finger to get that 'nnnyyywwwwwrrrrr' sound (you know, when you really snap the low string and then 'dampen' it with your finger and it makes that 'whirring' sound?,... has to be done very carefully).
Yep, touch harmonics... since they're so quiet, though, for an acoustic I've found that only the low E touch harmonics are consistently practical.
Title: Re: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: snyprrr on August 28, 2012, 01:56:15 PM
Aye; I can decode the tablature, but that is just enough like work that I prefer to continue the labor of my own composition : )

Haha!, yup!! ;) Trust me, this piece is so much like work, I'D rather work on your piece!

Title: Re: snyprrr's Composition Page (Opening Chords R Up!!)
Post by: snyprrr on August 28, 2012, 02:05:30 PM
Yep, touch harmonics... since they're so quiet, though, for an acoustic I've found that only the low E touch harmonics are consistently practical.


Thanks for all your interest. It appears we're thinking along similar lines: perhaps the piece is 'obvious' in what 'it' wants? I like the 'sound' of inevitability! ;)


Ugh, I'm sick. :'( Woke up with something. :( How inconvenient! How many have Composed on the can?!?! :-\ Karl? ;D
Title: Re: snyprrr's Composition Page
Post by: snyprrr on September 12, 2012, 09:46:38 PM
I am tantalizingly close to spackling together the entire first 'Part' of the guitar piece, ready for criticisms and suggestions. I imagine all this lasting about 6 minutes!, which really seems like quite something to me. 6 minutes, woo hoo!! That does put us on pace for about a 10 minute piece.

Of course, now, I'm starting to get the 'what is this shit?' voices, but I know to ignore them and just trudge forward. So WHAT if it's 'shit'? I like to think I have some objectivity, and I do think this piece is 'different' and I think people will read the music and be interested in it. It certainly is a monster pain to play (I can't play it for people), so, I wonder if that will attract or repel.

Three weeks later and now I'm even closer. Progress progress,... every day, either a new note, or something moved, or crossed out, or something, every day moving, haha, forward!

I have just, hopefully a handful more chords in the final passage, which admittedly I'm lingering over, and then the entire first 4-6 minutes (all of the Part One (out of two)) will be ready for a run through. I have been literally hovering over and working on this piece for three years now, wow. :(

For those of us who have never accomplished anything... oh, nevermind ::),... good night ;)
Title: Re: snyprrr's Composition Page
Post by: snyprrr on September 20, 2012, 07:39:31 AM
Technically, I've finished the underlying architecture of 'Part One' (out of two). IT LOOKS LIKE IT'S GOING TO BE ABOUT 14 PAGES OF (WHHOPS) non-dense note writing, which should probably fit into about 8-9 Pages.

I'm currently writing out the whole 'Part One' again, as a working copy, so I can send out some copies to get feedback. Deciphering some of... actually, my handwriting isn't as bad as it could be. I do strive for clarity if only for my own peace of mind.

It's taken 3 years to get here, and I still have all of 'Part Two' left, though I'm hoping that it will go quick: I've had three years to think about this 'toccata'.

10% inspiration, 90% perspiration
Title: Re: snyprrr's Composition Page
Post by: snyprrr on October 02, 2012, 09:19:15 PM
So, I've sent out a couple of copies of the Basic First Draft of 'Part 1' (out of two) of 'TEKh' ('h' caps to be dealt with later, haha). Since then, just the juices from sending the packets out has caused me to overview the 14 Pages, and by now, I am working on a somewhat Second Draft (though, the underlying blueprint is pretty well the First Draft).

I'm proud of the work done in the last week, though I'm putting the acid test on everything. It's amazing how much 'overlay' one can put on top of the underlying architecture, and it still sound just like the original conception.

I'm afraid my two guinea pigs will find a bramble of notes. There are chords that have 'Eb's and 'Fb's and 'B#'s and such, but, it is all in the name of clarity for the chord at hand. I really should have made a chord fingering diagram, but didn't have the time as yet. I looked at some of the chords after I had forgotten then, and I thought I had made a mistake: it took me a while to remember the torturous fingering. I'll leave it to my friends to judge, but I find this piece brutal on my hands, and I surely don't want to be the one playing it, oh noes! I certainly wrote it as a guitarist wanting to push push push a fine guitarist into a particular world or exertion for pleasure.

I don't believe in ungrateful virtuosity. I certainly want dividends for my hard work. If my friends master the piece too easily, have I then failed? But, I think the piece offers unique challenges,... I mean, ANYTHING can be hard if it's played fast enough, right? So, 'difficulty' and 'complexity' aren't necessarily the reason for being here, though, I am hoping, that there is enough meat here to interest the fellows. Love me or hate me, but don't ignore me, right?

So, I am also quite curious to see how my friends think the piece should proceed from the last note of 'Part 1'. I have now Composed the very ending of the piece (3 Pages) and am working backwards until I get some feedback (take your time guys).

A little voice in my head said I'd never finish the piece, and I certainly hope that that means that I will!! Thanks for your support!
Title: Re: snyprrr's Composition Page
Post by: snyprrr on October 10, 2012, 09:54:21 AM
I have now gone through my first bottle of Composers' WhiteOut!! :o ;D 8)

thank you, thank you
Title: Re: snyprrr's Composition Page
Post by: North Star on October 10, 2012, 01:10:26 PM
I have now gone through my first bottle of Composers' WhiteOut!! :o ;D 8)

thank you, thank you
For some reason, I read that first as WineOut, then WhineOut.  ;D
Title: Re: snyprrr's Composition Page
Post by: snyprrr on December 17, 2012, 10:00:30 PM
I had a meeting with my conductor friend, and we went through some of the guitar piece,... I was banging time with my arms and going "bum bum bum", and he did declare that I WAS 'bum bumming' correctly to what I had written! So, the rhythms right. I'm convinced the notes are right. I may be farther along than hoped in my notating skills, which is the only matter of import right now.

Except for the fact that I have not finished this same piece, this 'Part 1' out of 2. It's in five sections,... oh, I know you all know this! ::) I'm taking a few days away from it to work on some pop covers.

If you forced me to give it to you tonight, I guess I would, just to hear it. The actual notes, I believe, have all been corrected, the rhythms appears to be in working order, and the flow is what I planned, so, I'm really at a certain stage. I really want to close the year out with this and finish it so I can get to the 'Part 2', which I have purposely not even thought about.

aye :(
Title: Re: snyprrr's Composition Page 'Starmaker'
Post by: snyprrr on August 16, 2015, 11:41:54 AM
Starmaker

Here is the current chord progression for this slow, cosmic guitar solo I've Composed. It should sound like a Vai/Satriani type slow workout. Please tell me how it hits you,... yes, there is no "resolving", it's supposed to be "cosmic",... somewhat Debussy perhaps?,... please, analyze for me:



1) A major chord with a 2nd

0
0
6
7
7
5


2) G#m7

4
7
4
4
6
4


3) F9/A

3
1
2
3
0
X


4) G something

5
4
4
5
0
X


5) C#minor/E

X
5
6
6
4
0


6) G#minor/E

X or 0
4
4
6
6
0


7) F#minor-to-major

X   X
2   2
2   3
4   4
4   4
2   2


8) Ebm7

X
7
6
8
6
X


9) Emajor

0
0
1
2
2
0


10) uh, forget what it's called

X
4
4
5
6
X


11) Bbm7

X
2
1
3
1
X


12) F#9/A

4
2
3
4
0
X


13) C#major

X
6
6
6
4
X


14) Fm7

X
9
8
10
8
X


Then start over.




 
So, what do you think? Can you hear a blazing solo over this? mmm?
Title: Re: snyprrr's Composition Page
Post by: ibanezmonster on August 16, 2015, 04:19:47 PM
I just played those chords and could have sworn I heard Steve Vai in the other room narrating the legendary tale of how Steve Vai started playing guitar.
Title: Re: snyprrr's Composition Page
Post by: snyprrr on August 17, 2015, 01:20:43 PM
I just played those chords and could have sworn I heard Steve Vai in the other room narrating the legendary tale of how Steve Vai started playing guitar.

now, the trick is to come up with some lead lines that take into account all the key changes,... I'm not sure I can tell what key fits into each actual chord,... obviously, it starts in A Major, but then, when you hit the F it could go anywhere...

well, I assume from your answer that I was successful in my endeavor ;)... no "resolving' here, haha... (btw- I knew you'd be the only one to answer, lol!!)- it's all for you Greg, it's all for you Damien,... errr, I mean,....
Title: Re: snyprrr's Composition Page
Post by: ibanezmonster on August 17, 2015, 03:43:17 PM
If this helps any, this is what I hear:


1-2: A maj
3: F lydian
4: E harmonic min
5: E maj (C# min)
6: E Lydian (G# min)
7-8: F# maj (G# dorian)
9: F# Mixolydian
10: E Dorian with a sharp 7 (forgot what mode this is)
11: Bb Dorian
12: F# maj
13: C# maj or lydian
14: F min
Title: Re: snyprrr's Composition Page
Post by: Scion7 on September 07, 2015, 02:10:07 PM
It needs some bongos, I think.
Title: Re: Analyze This!: snyprrr's Composition Page NEW GUITAR WORK, FOLKS!!
Post by: snyprrr on January 05, 2017, 08:08:42 PM
OK, I'm just going to write it out for you...

RIGHT HAND: It's kind of moto perpetuo, like a strumming harp, so, it's just down-and-up 6 5 4 3 2 1 2 3 4 5 6, with perhaps a little 4 3 2 1 2 3 4 thrown in ad lib. It's not quite flamenco, more like a Sciarrino-like fan-like "waving" up-and-down, as fast as possible, and as natural and random as a stream eddy, coming and going streams of thought waters, a backdrop. You will have to have a light touch- the point is to accentuate the guitar's ability to sound more than one sound at a time- in this case, the biggest cascade of voluminous notes as possible, in a free and easy common metre in medium, natural tempo. It is as simple as can be, actually, it just needs to be fast enough to give the "water streams" imagery.


THE PIECE is simply a continuous "stream" of chords. The duration of each chord is up to you, but generally, a fairly even feeling will surely settle in,... I think around 6 "times" (the pattern of strumming), or, 6 to 8, or "4", if that number feels more comfortable. If you like a chord, linger or not; if you don't, you may not skip- but, of course, you may, and/or add chords of your own (please do!). Some of the chords will have durations attached, usually "one time" (meaning, one go around of the strumming)

Each chord should go into the next as invisibly as is humanly possibly. Dynamics aren't specified, but can be creatively employed, if so desired.

THE CHORDS, and how they go from one to the other, is the whole point of the work. I simply wanted to hear one "excellent" chord after another, a string of festooned pearls, an embarrassment of riches! I have either succeeded or failed depending whether you think these chords are worthy, or not. I hope they are. They have all been chosen to keep the prescribed mood going, on and on, always changing but always sounding of the same ethos.

So, before we go any further, do you have your guitar and are you ready to play? Good!

Before we go on, I warn you, I have tried to make this... difficult for you. It is definitely intended for a particular purpose, not least of which may be an answer to the previous piece I was working on, which wasn't very... attractive, perhaps. Here, I have endeavored to communicate more openly, but, with also a tongue in the cheek in terms of difficulty. To play this work properly, virtuosity is indeed required. To merely get through it, one would, I believe, need to at least be proficient. I don't know how one's finger lengths will make a difference, but, you will see that I am trying to make you walk a tight rope.

So.

Have the strumming in mind... here we go:


                  Salamander Reflections

                                                 OR

                         Tannebabimmenei



(Going left to right, one row at a time)

                                                                                                                                        1X              1X        1X
E       0               2              0               0                0..................0                  8                   0                   1                   0
B       9               0              1               4                0..................0                  0...................0                   1                   0
G       8               0              4               6              10.................10                 5                   6                   1                   0
D       6               2              2               5 to 3         9..................9                  0                   4                   3                   2
A       4               3              0               6                9 to 8...........8 to 7           6...................6                   3                   2
E       0               2              3               0                7                  5                  4...................4                   1                   0




E      0                0...............0                6               0              0..............0               0                0
B      2                6...............6                3               0              0..............0              10             16
G      3                7               0                5             11              8..............8               0              15
D      1                5               7                3             10              7..............7              10             13
A      2                3               5                5               9              6..............6               8              11
E      0                0               6                4               8              9              7               6                0



Well, I haven't gotten far, have I?LOL!! How do you like it so far; where should it go? Those last three chords I just added as I wrote- am I getting lazy, or is it still good?
Title: Analyze This!: snyprrr's Composition Page
Post by: k a rl h e nn i ng on January 06, 2017, 03:32:35 AM
Have you considered learning music notation?

Sent from my SM-G930V using Tapatalk

Title: Re: Analyze This!: snyprrr's Composition Page
Post by: snyprrr on January 06, 2017, 07:07:22 AM
Have you considered learning music notation?

Sent from my SM-G930V using Tapatalk

Why do you hate me?
Title: Re: Analyze This!: snyprrr's Composition Page
Post by: k a rl h e nn i ng on January 06, 2017, 07:32:32 AM
The process of learning music notation is much, much less horrific than Julian Assange told you . . . .
Title: Re: Analyze This!: snyprrr's Composition Page
Post by: k a rl h e nn i ng on January 06, 2017, 07:33:27 AM
(Going left to right, one row at a time)

                                                                                                                                        1X              1X        1X
E       0               2              0               0                0..................0                  8                   0                   1                   0
B       9               0              1               4                0..................0                  0...................0                   1                   0
G       8               0              4               6              10.................10                 5                   6                   1                   0
D       6               2              2               5 to 3         9..................9                  0                   4                   3                   2
A       4               3              0               6                9 to 8...........8 to 7           6...................6                   3                   2
E       0               2              3               0                7                  5                  4...................4                   1                   0




E      0                0...............0                6               0              0..............0               0                0
B      2                6...............6                3               0              0..............0              10             16
G      3                7               0                5             11              8..............8               0              15
D      1                5               7                3             10              7..............7              10             13
A      2                3               5                5               9              6..............6               8              11
E      0                0               6                4               8              9              7               6                0


Why do you hate us?  0:)
Title: Re: Analyze This!: snyprrr's Composition Page
Post by: Crudblud on January 06, 2017, 09:29:29 AM
Might help if you cleaned it up a little, e.g.:

E||0-----------------|2-----------------|
B||9-----------------|0-----------------|
G||8-----------------|0-----------------|
D||6-----------------|2-----------------|
A||4-----------------|3-----------------|
E||0-----------------|2-----------------|

You'll want to change the font to courier to achieve the even spacing. There is no common tab sign for the arpeggio, as far as I know, so you would have to specify in the notes.
Title: Re: Analyze This!: snyprrr's Composition Page
Post by: snyprrr on January 10, 2017, 07:42:18 AM
Why do you hate us?  0:)

WHY IS THIS UNREADABLE TO A GUITARIST?? :'( :'( :'( :'( :'(

Might help if you cleaned it up a little, e.g.:

E||0-----------------|2-----------------|
B||9-----------------|0-----------------|
G||8-----------------|0-----------------|
D||6-----------------|2-----------------|
A||4-----------------|3-----------------|
E||0-----------------|2-----------------|

You'll want to change the font to courier to achieve the even spacing. There is no common tab sign for the arpeggio, as far as I know, so you would have to specify in the notes.

pLEASE JUSt play the first three chords and then let me crawl into my hole,... why does eeeverything have to be so complicated ?? (sorry, car's been in the shop for a MONTH... A MONTH,.... and I'm getting a little ... upended)


Woe is me that I didn't plonk all my savings into a WorkStation and Composing Software,  aaaaahhhhhh >:( >:( >:(


... flailing away at writing physical notes on paper.... gggaaaaaaahhhhhhh....




sorry, - but it just seems like brick walls all around me




Is it really that hard to decipher what I wrote?


SOMEONE, PLEASE, just try to play the first three chords... anything....



and Karl, how am I supposed to write music notes on the keyboard on GMG???




I come from the "non writing" quadrant,... we always just showed and taught each other physically, learning ...memory,....


ALL THIS WRITING OF NOTES........ HAVING TO UNDERSTAND WHO TO NOTATE AN ARPEGE,....GAAAHHHH,.....

now I see when they're photographed at their piano with one hand on a note and the other on the pencil,....



There's LOTS of notes,... I don't have the ________ to just sit there and make everything precisely exact..... isn't it 2017.... haven't we progressed to The Common Sense Era yet??


Sorry, losing my mind this morning,..... did I mention the car????




AAAAAAAAAHHHHHHHHH :o ??? :o ??? :o ???





wHAT if I passed right now? Wouldn't you all be able to decipher what i wrote above and play it at my funeral?? Really????






I'm Googling "patience" now........

Title: Re: Analyze This!: snyprrr's Composition Page
Post by: k a rl h e nn i ng on January 10, 2017, 07:45:56 AM
I'm Googling "patience" now........

Do share the fruits of your resaarch! ;)
Title: Re: Analyze This!: snyprrr's Composition Page
Post by: Crudblud on January 10, 2017, 08:24:45 AM
pLEASE JUSt play the first three chords and then let me crawl into my hole,... why does eeeverything have to be so complicated ?? (sorry, car's been in the shop for a MONTH... A MONTH,.... and I'm getting a little ... upended)

I can't even play the first one. My hands are quite small. In any case, surely the tablature format I showed you looks better than isolated columns of numbers that don't even line up properly?
Title: Re: Analyze This!: snyprrr's Composition Page
Post by: Monsieur Croche on March 27, 2017, 10:17:12 PM
The process of learning music notation is much, much less horrific than Julian Assange told you . . . .

Learning to read and write music notation is so simple that even children learn it ;-)
Title: Re: snyprrr's Composition Page
Post by: Monsieur Croche on March 27, 2017, 10:35:06 PM
Waaah!! :'(

I need sooooooomeone to pay attention to me or I'll just die I tell you. :'(

Firstly, your "Waaah!!' graphic, attached below.

Then:
000.) Often enough, unless you are Mozart with all his very early advantages, the beginning composer has to accept that their first / early pieces will not be perfect, will not be everything they intended and wanted, and that it is necessary to have the experience of making a beginning, a middle and an end.  Beginning composers need to practice that just as beginning instrumentalists need to learn how to play scales, up and down!  Short and shorter pieces are the initial practice steps, then increased in scope and length as one develops the experience and skills from the experience.

Nextly:
1.) When you're stuck, leave a blank gap, and go on to the next part you are more certain of and write it down;  then you at least have 'where it came from and went to' to give you a better idea of what goes in the gap section.

1.) When you are stuck, write in just about any old thing, because often enough knowing what you do not want helps you figure out what you do want.  Choose some notes, configurations; they're just notes and configurations and you can change them.

1.) When you have a plan, you at least have something to deviate from.  (It seems you have enough down that what is done so far can be considered 'a plan.')

1.) As the number of pages grows (they should be notated horizontally, not vertically) make a copy that you can tape up, left to right, on a wall.  Seeing it 'all at once,' and reading through left to right can be enormously helpful.

0. (and 1 through 10.) An eraser is your best friend. {See second attached image, below.}


Always best regards.
Title: Re: snyprrr's Composition Page
Post by: snyprrr on March 28, 2017, 03:35:48 PM
Firstly, your "Waaah!!' graphic, attached below.

Then:
000.) Often enough, unless you are Mozart with all his very early advantages, the beginning composer has to accept that their first / early pieces will not be perfect, will not be everything they intended and wanted, and that it is necessary to have the experience of making a beginning, a middle and an end.  Beginning composers need to practice that just as beginning instrumentalists need to learn how to play scales, up and down!  Short and shorter pieces are the initial practice steps, then increased in scope and length as one develops the experience and skills from the experience.

Nextly:
1.) When you're stuck, leave a blank gap, and go on to the next part you are more certain of and write it down;  then you at least have 'where it came from and went to' to give you a better idea of what goes in the gap section.

1.) When you are stuck, write in just about any old thing, because often enough knowing what you do not want helps you figure out what you do want.  Choose some notes, configurations; they're just notes and configurations and you can change them.

1.) When you have a plan, you at least have something to deviate from.  (It seems you have enough down that what is done so far can be considered 'a plan.')

1.) As the number of pages grows (they should be notated horizontally, not vertically) make a copy that you can tape up, left to right, on a wall.  Seeing it 'all at once,' and reading through left to right can be enormously helpful.

0. (and 1 through 10.) An eraser is your best friend. {See second attached image, below.}


Always best regards.

This would also help in writing... anything!... such as my new idea to make a buck: "Disco Ninja Lesbian Vampires",... I just know it will... I just know it will... I just kn...

STUDY!!


NOOOOO!!! NOT THAAAAT!!!!!

"A man studying Stravinsky stumbles upon a corpse in a park, and becomes embroiled in..."