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Hi, I'm new to this forum although I have been a member for a while now- just not had chance to come on here since I joined. As my first post hello to all! :-) I'm posting three original tracks. I write pop and rock music but for many years I always wanted to learn about writing for the orchestra but after searching the internet for resources I never seemed to really find anything that helpful. My understanding is that most really good instructive resources are degree/education courses and so are closed to public access. Links and advice to any books or sites would be greatly appreciated.

Here are my first efforts at moving towards that soundscape. It's pre-production. I'm working on re-recordings for a band album at the moment.

That Old Alchemy

Smoking Gun

Whiskey with Sioux



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A thread started by a new member looking for advice is now, in addition to thankfully expunged claims of plagiarism, subject to this irrelevant nonsense. It perhaps puts my labelling of some members as stupid cunts into perspective.

Serenity Laine said:


Just a few observations.

Parallel fifths?  There is nothing wrong with them, per se, nowadays.  But aren't parallel fifths often better (or more interesting) when one line is set off by a quarter tone?  I advocate the parallel fifth and a half, the fifth and a quarter, and the fifth and an eighth, whenever they can be managed.

Make "every note count?"  I still don't know if you can "make notes" do what you want them to do; and even if you could, I am not sure it's moral or ethical to do so, much less aesthetically necessary.  Isn't it better to work out compromises with the notes, and let them do what they want to occasionally?  Of course, there is almost no limit to how many notes you can allow into your piece, and one might ask this:  Why are people so afraid of "too many notes?"  Wasn't that a complaint made against Mozart?

I can understand that in days past, notes were in shorter supply than today.  But in contemporary music, there is no shortage of notes.  Even if there were, it would not be as bad as the shortages of water and clean air we are starting to experience all over the world.  Can't we be generous with the number of notes we bring in?   Even new immigration regulations cannot keep us from bringing more notes into the country, and into our pieces, from all parts of the world, and even from other worlds.  More notes from Syria, Somalia and the Sirius Star System could have great cultural benefits for our music.

As for the instruments, I think we do need more of them.  A few weeks ago, I saw a concert where one of the featured instruments was a typewriter, which as far as I know, hasn't been used very much since the days of Satie.   This composer also scored his work for a fishing pole with a ping pong ball on the end of the hook, which bounced against the wall.  (I soIemnly affirm that this is the case,  am that I am not making this up). 

As for "tearing up the rule book," you could get an actual music theory text book, tear that up, and have it be part of the musical composition.  I see no problem with that.   Two part harmony in an early baroque style is nice, too.  You can have it all, I think, but only at different times, and on alternate days of the week.

Steady, watch your blood pressure.
No engagement with them means denying them the oxygen to carry on with their drivel.

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