Does anyone resonate or identify with the way of composing described in this video -
If anyone would like to participate in this journey in any way (details in the video), it would be great to hear from you. If not, hopefull, we'll have more videos coming soon. My next couple will probably be around Composers' Block and Dealing with Criticism. Any input/experiences you'd like to share with me in advance of making these would be really helpful.
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I'm curious what exactly you mean by "easier more accessible ways". Any specific examples?
I, for one, am always eager to find new approaches to learning (or teaching) the same material. The content is the same, but it can be presented differently, with different degrees of effectiveness.
Not really. Part of the journey is for myself, at the very start of my composing journey. I know there are a lot of gaps in what I know, and I know that the theory resources and videos out there that should be at my level (or lower) seem to go over my head (or maybe right through it), so I'm hoping I can myself discover different ways of learning from others who have built up their own knowledge in less conventional ways.
Well, in that case, if you have any specific questions, feel free to post on this forum. We'll try to explain it in a way that makes sense to you.
Thanks HS. For the moment, I have more of a technical question than a theoretical one. I'm wanting to use an occasional half-sharp in Cubase (adding 50 cents to the base note). However, I can't find a way to do it for MIDI notes. Pitch-bend is a sort of work around, but it sounds rough enough to make it unusable. Any ideas.
As far as I know, pitch bend is the only way to do it in MIDI, because the MIDI encoding is strictly 12-EDO based. I.e., the binary representation of the MIDI protocol encodes exactly 12 notes per octave; in-between stuff like half-sharps are not representable at all. In my own experiments with 19-EDO composition, I've had to use pitch bend as the only way to break out of 12-EDO in a MIDI setting.
P.S. as to the "rough" or weird sound of half-sharps, that's the way 24-EDO sounds. 24-EDO actually contains a lot of intervals that are very far from Just Intonation, so most of them sound extremely discordant to our ears. If you want to experiment with micro-tonality but want a less grating sound, you might want to consider other temperaments that contain more harmonious intervals, such as 19-EDO or 31-EDO. Admittedly, though, dealing with these temperaments within the scope of current technology's 12-EDO-centric-ness can be a pain to work with. Caveat emptor.