Need some advice for music composition class.
Not sure if this is the right place to put this or not, or if we're even allowed to have a thread like this hear, but I figured it's worth a shot.
Anyway, the music comp professor at my college liked what I've done with musescore so much, he let me take his class before completing music theory 1 and 2 first. (A huge thanks to those who created and developed the program, for with out it I would not be taking this class) That being said, I don't quite have a great grasp on musical notation, and could use some advice ever now and then from those who are a little more familiar with it.
Here's the piece I've done for my class, and I was wondering if perhaps someone could help me with a few questions I have on a few things.
1. How do you notate string instruments to play Pizzicato? Furthermore, where is the symbol/notation to do so found in musescore?
2. Is it more natural to use Ab or G# in something written in A minor?
3. Is there anything that stands out as being really really wrong? I've done a fair bit on clean up, but I don't want to let something slip by.
I don't have to mess with dynamics or slurs quite yet. Right now he just wants the notation to be correct and neatly written with the correct use of enharmonic notes and such.
Thanks in advance.
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Comments
As to 2. - both are appropriate, depending on the context. A general rule is, sharps when rising, flats when falling, but there are exceptions.
A small detail: the first pickup measure should not be counted in the measure numbers. You need to mark the pickup measure as "irregular" (see measure operations for details). Please note that the measure numbers referred to below assume that measure 1 is the one after the pickup.
1. To mark strings as pizzicato use staff text (it is usually abbreviated "pizz."). See the "mid-staff changes" section of change and adjust sounds for details. Obviously you will replace the word "mute" with "pizz."
2. It would be a good idea to ask your theory teacher for an explanation of pitch spelling but here is my very brief explanation. The most important rule is to write the note as it would normally appear in the chord. For example measure 2 has the pitches of a B major chord. B major chord is written B D# F# so you need to replace all the E flats in measure 2 with D sharps. Same with measure 4, etc. The guideline Xavierjazz mentions is only applies if the notes are not part of the chord (for example a chromatic scale) but there are no instances of this in your piece.
'wrong', 'enharmonic' etc.
Hi, Michael,
First of all, what is wrong with 'rong'? It all depends on the context. Always think it over, whether you need a rule, or you need to use your common sense to find the answer.
With reference to your explicit question (2) regarding whether Ab or G# is more natural in A minor, frame the question differently: "If I choose the first option, how many versions of A would I have? Assuming, the answer is two, then, every time, I would need to specify which of the two versions of A I want" The option 2 answer will become immediately obvious to you: it is more practical if both the G and the A have one version only. (Having clarified this in your mind, you will more easily understand the theory behind it - if you need the theory at all).
Keep writing as much music as is in you.
Thanks for the help. Other than a few small suggestions, my composition professor really liked it.
Now, I have a new challenge. My instruction for the week is to write something in a key other than C major or A minor, and to make it relatively quick and somewhat agitated. I've chosen to write the piece in Bb major, and to write it for what you would find more or less in a medium sized band. Bob is the hero of the game I'm doing music for, so I decided to take his theme and expand on it a bit with this.
Here's a few questions I have on it.
1. Is there a way to have bar lines run through the entire page?
2. Are my melodies strong enough? (This is something that I tend to obsess over a bit, as I think all too often the importance of a solid melody is overlooked by many musicians)
3. Did I do anything that looks overly weird? This is the first time I've ever really written something this big, and I'm still not quite sure exactly how to write music for a big band/orchestra yet.
Some thoughts/comments I have on the piece:
Transitions are still a little rough, but I'm going to fix that last.
I'm going to expand on the various sections so they don't feel quite so cramped. (this is the main reason I'm waiting on the transitions)
The end definitely needs a bigger build up, and to end on a stronger note. That's probably going to be one of the last things I do.
I'm undecided weather or not to add a drum set. I'm not really sure how music for drums is notated. I assume it followed the same basic rules as the rest of written music?
Thanks in advance for the help.
In reply to Thanks for the help. Other by Michael M
1. I'm not sure you want the barlines through the entire page. Maybe only by section. You can achieve this by double clicking a bar line and move the blue handle. It will change all the other barlines.
See Bar line
In reply to Barlines by [DELETED] 5
I swear I looked in the handbook twice and didn't see that.... lol
In reply to Thanks for the help. Other by Michael M
Hi Michael,
I am glad that you are so strongly committed to writing music. If I may, I would give you some advice on it.
1. You are the composer of your pieces. It means, that you are in command - you owe no explanation to anyone.
2. Therefore it is no business of anybody whether you wanted to write the piece in Bb Major or any other key (especially considering the fact that the piece is actually in Eb Major!).
3. You are asking advice rightly in this place on using the software. Everybody is granted absolution for asking something that slipped their attention at a given moment , even if the question relates to something detailed on page 1 of the manual. I hope by now you have several options for your barline query.
4. Regarding to your further questions, I feel you are confusing issues. Whether a tune is strong or not, is a matter of individual taste, the addresse's views on aesthetics, experience in analysis/composition, but definitely not a matter of being right or wrong in absolute terms. Therefore, I think you should address your questions to forums specialised on the music 'end-product' either here (Made with MuseScore) or in communities more dedicated to composition.
5. You seem to be set to learn a lot about music and composition, therefore you are on the right track. Try to obtain answers to your questions relating to composition or orchestration by study, analysis and experience.
6. Regarding your future plans relating to the piece, they sound great! Excellent kick-off ideas for a workshop! Try to join or organise one!
7. If you have any advice on notating your ideas using MuseScore, ask them here, I'm quite sure, many of us will learn from them and from the expert answers.
Good luck with your composition!
In reply to Hi Michael, I am glad that by drikanb
Score-wise, also: "you are communicating with fellow humans." They're trying to read your score while trying to make sure they don't play the wrong notes (in front of your audience). So, above all else, make your score very clear, very familiar, and very easy for them to read "on sight."
There are many ways to express an arrangement of sounds on a printed page. All of them might be "equally correct," but if you constantly try to put yourself into the position of the performer, you're going to consistently win new friends in the orchestra pit. Or the recording studio.
Ask them. Avail yourself of every opportunity that you may have to show your work-in-progress to experienced instrumentalists who play the various instruments that you are considering. Listen carefully to any and all suggestions they may have. "After all, they live there. They know." If the particular way written something would make their lives more difficult, they'll be quick to tell you. Listen attentively. Make the changes.
In reply to It's just a form of communication... by Mike Robinson
Regards.
As a counter to drikanb's comments, I prefer to think of composition as a collaborative art--particularly ensemble music. Although the composer may be proficient at a few of the instrument he/she is writing for, the artists performing the music are likely to know more about their instrument and their individual abilities than the composer. Once you are on par with Beethoven then you are allow to say heck with the limitations of your instrument! Since you are writing for class, your teaching is also part of this collaboration. Likewise, he/she is likely to have insights and good advice. And is sounds like you are open to this so below is some of mine. :)
Since the list of instruments in MuseScore is so exhaustive it can be difficult to pick the right instruments unless you are already familiar with them. Clarinets are almost always Bb (occasionally in A). In the United States Bb trumpet is the most common especially for Middle School, High School, and community orchestras. By college, trumpet players are often proficient at reading C or Bb scores regardless of whether they are playing a C trumpet or Bb trumpet (but then again it depends on the quality of the trumpet section). The "Low C Horn" could be another regular horn. The notes you have are well with in the normal range. Horn players can read treble or bass clef. The tuba reads the music in C but the instrument itself is technically called "Bb tuba" (at least this is the most common in the United States).
It think you should continue what you started with the timpani. If you have questions about writing for timpani see if you can find a timpani player than can explain the ranges of each drum and how many in drums they have available. In my experience instrumentalists are quite happy to give advice about writing for their instrument.
Listening to the piece by itself, I wished there was something more added to the end to make it sound more like an ending, but then again I don't know the context for the piece (whether it is intended as part of a larger work or if it is intended to stand alone).
In reply to As a counter to drikanb's by David Bolton
I think the piece would benefit from the the use of a snare and bass drum. Also, While a band may be blessed with more than one oboe and multiple bassoons, this is not the usual case. I would stick to writing a single line for these instruments unless it's really necessary. It looks like your first Flute part could just as easily be a piccolo part. All of the wind bands I've played in have a saxophone section also; alto, tenor, bari and sometimes soprano. I'm not a big fan of saxes, but the do have to be dealt with. And Euphonium really helps to round out the low brass, maybe this is what your were shooting for when you wrote the low horn part? At measure 6, the xylophone could probably be better used to add some punch to the flute part, switching to glock (I'd rather orchestral bells) when the more lyric part starts around measure 8 to make it bloom a little more. Again, expecially around measure 6, it needs noisy percussion, have the snare take over for the xylophone, and punctuate with bass drum and cymbols.
This is all just arranging, I really like where the tune is headed. Try to expand your themes a bit. I want to hear more. :-)
In reply to Instrumentation. by MDMilford
Maybe a repeat of the section from 29 on. Leave the flute out of it and use just the brass the first time. On the last note cybal roll and then bring on the winds, all of them, for the repeat. Then go back to your more agitato theme for the rest of the piece. Where I refer to measure 8 above, I mean measure 9.