Page 2 of 4
#41
^Dont add notes, thats cheating . I dont see why you cant write a second movement, but I dont think your allowed to write another phrase.
Quote by Galvanise69
Archeo: One question, are we allowed to phrase the ntoes of the main theme as tones of a chord, Im having trouble coming up with a melody that doesnt sound like random people farting : P
Try to find a scale that the majority of those notes fit in and stress the consonant notes of both the scale and the melody rhthymically, and use the rest of the notes as if they're passing tones.

Now my question: Am I allowed to use development in this movement? Like repeat bits (as in not all) of the phrase with modulation or change it rhythmically.

And would I be able to modulate it when its being played the second time round?
#42
I decided to have a quick try at making something of those godawful notes, and stumbled upon something pretty quickly. Of course, since I wasn't trying to write in 10/4, it was 4/4. So I plan to superimpose it over drums in 10/4.

I started out with the A A# B. I think there's a Hendrix song that goes something like A A# B, D D# E. So I basically stole the first half of that.
Then I had to find a way to fit a melodic tritone (D G#) into it. My solution was to all-but remove the obstacle by reducing the first note to little more than a grace note.
Then my subconscious took over. Not even thinking about rhythm or meter, I'm up to the start of the second 'bar' of 4/4, so for A C G# I use the same rhythm as the first half of the first 'bar'.
Finally for F# F, same deal, I subconsciously fit them into 4/4 with crotchets. This also sets up the descent back to A, by leading to the fifth, E.

So, just like that (it seriously took like 30 seconds max) I had my theme.
Now to add to it

I have no idea where the E Eb D harmony over the A A# B came from. I just heard it.
For the harmony over the last part of the melody (E Db D B Ab) I was just trying to adapt the same idea (descending chromatics) over the different notes, using my ear.
For the bass notes, I just played octaves of the main theme to accentuate that line. Only at the end I ascend chromatically towards A.

Then I introduced the upper and lower voices in an order that seemed slightly interesting and resolved to A5 at the end.

Anyways, here it is (if you don't have GP, I think you can use Tux Guitar)
It sounds like arse and I hate it. Any questions?
Attachments:
Trugly.zip
My name is Andy
Quote by MudMartin
Only looking at music as math and theory, is like only looking at the love of your life as flesh and bone.

Swinging to the rhythm of the New World Order,
Counting bodies like sheep to the rhythm of the war drums
#44
Aenimus: I eliminated the time signature requirement. For the rest of you that were wondering, I eliminate the key requirement as well. You can make the notes work in whatever key you want. Keep in mind that we're only talking about the main theme. It's not the only material in the entire piece, and the rest of it is at your discretion.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#45
Quote by Archeo Avis
Aenimus: I eliminated the time signature requirement. For the rest of you that were wondering, I eliminate the key requirement as well. You can make the notes work in whatever key you want. Keep in mind that we're only talking about the main theme. It's not the only material in the entire piece, and the rest of it is at your discretion.


Can we use whatever harmonies we want though?

I am sticking to 10/4, sounds better...
#46
Quote by gonzaw
Can we use whatever harmonies we want though?


Absolutely.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#47
I'm not gonna lie, this has got me pretty excited lol. All of my compositions never really go anywhere, the most I've got out of them is like 3 minutes tops. I think this will force me to expand and keep working on it. I'm gonna start soon, and I'll be working on it for a while because I want to attempt something truly epic .. and I have no idea how those notes sound right now lol. Awesome idea, Arch
#48
All I ask, beyond following my absurdly restrictive set of borderline arbitrary rules, is that you detail the thought and theory behind your composition. The goal, after all, is education.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#49
Quote by Archeo Avis
Absolutely.


Maybe something like this?

I don't even know what I did, I just went crazy (maybe it doesn't follow the rules though, I don't know anything about "tone row" or whatever)....

At times I guess it is more 5/4 with different tempo rather than 10/4, but I would have to change everything....


EDIT: I'll fix it later....
Attachments:
Madness.zip
Last edited by gonzaw at Sep 23, 2008,
#51
200 to 1 that the end results will sound like raped children. Action, anyone?
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#52
Quote by elvenkindje
200 to 1 that the end results will sound like raped children. Action, anyone?


200 to 1 that mine will sound like consensual sex with sexually precocious seventeen year olds who look twenty. I swear...I'm sure they're twenty.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#53
Solid argument, almost got to my head

But in all seriousness, you randomly rolled some dice to picked the notes and time and you try to make it work? Music isn't something you can randomly make like that. Sure, it's a nice experiment if you're into this thing but I doubt it will sound good in any way.
The "Popped Collar" Award(Sexiest)
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#54
Quote by elvenkindje
Solid argument, almost got to my head

But in all seriousness, you randomly rolled some dice to picked the notes and time and you try to make it work? Music isn't something you can randomly make like that. Sure, it's a nice experiment if you're into this thing but I doubt it will sound good in any way.


I'll take that as a challenge.
Everyone else: Suck, so that I look better by comparison.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#55
Quote by elvenkindje
Solid argument, almost got to my head

But in all seriousness, you randomly rolled some dice to picked the notes and time and you try to make it work? Music isn't something you can randomly make like that. Sure, it's a nice experiment if you're into this thing but I doubt it will sound good in any way.



You can make music like that, but there is a good chance that most people won't dig listening to it. Not that there's anything wrong with that.
shred is gaudy music
#56
Sure, there's nothing wrong with it and I'm sure archeo and the others like the challenge of trying to come up with something 'musical'. Hate to use that term because it's not a word at all but I really couldn't think of another word to pick in the spot.

Archeo, could you clearly define what the purpose of this experiment is? Ninjaedit: Before you all think I'm a retard that doesn't read the opening post, I meant to ask what he thinks will be the result of this experiment and I probably didn't make that too clear in the question.
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#57
As I said...

Putting yourself in a box forces you to use the few liberties you have in unusual ways you may not have thought of if given the freedom to do anything.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#58
Quote by Archeo Avis
200 to 1 that mine will sound like consensual sex with sexually precocious seventeen year olds who look twenty. I swear...I'm sure they're twenty.
17? pfft too old. I'm almost 18 and my girl's what 15? Not to mention the fact I'm always hitting on my cousins friends (12yo's and 15/14yo's FTW) every chance I get. I think I'm a bit sick...

Quote by elven
But in all seriousness, you randomly rolled some dice to picked the notes and time and you try to make it work? Music isn't something you can randomly make like that. Sure, it's a nice experiment if you're into this thing but I doubt it will sound good in any way.
The idea is to force it to work. You might have to change key heaps, you might have to use the weirdest looking chords ever, you might have to use the weirdest looking phrasing, but it's doable. I might actually have a go now, if I can figure out fl within the week (after a month of doodling, it still makes no sense)
#59
Quote by Archeo Avis
As I said...

Maybe you responded before my ninjaedit or I didn't made myself clear. Do you think the result will be something you're proud of? Do you think you'll enjoy listening to it? Do you think you'll use this method more after you did this experiment?
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#60
Quote by elvenkindje
Maybe you responded before my ninjaedit or I didn't made myself clear. Do you think the result will be something you're proud of? Do you think you'll enjoy listening to it? Do you think you'll use this method more after you did this experiment?
Well I doubt anyone enjoys listening to their species counterpoint exercises, but that doesnt mean its counterproductive.
#61
But in all seriousness, you randomly rolled some dice to picked the notes and time and you try to make it work?

Ask Mozart; http://en.wikipedia.org/wiki/Aleatoric_music

Train of thought;

Wrote out notes in correct order as crotchets, 10/4 (140BPM) just to see what it sounded like. Sounded fine until the last note didn't resolve.

Hmm. Must work on this.
Call me Batman.
Last edited by J.A.M at Sep 23, 2008,
#62
I'm actually liking Gonzaw's Madness, I'd really like it if you developed it more. It's just crazy and erratic and.... mad. but in a good way. it's like... nothing I've ever heard it before, but it holds your attention and makes you think wtf?
#63
I'll see what I can do. I did Corwinoid's monstrous composition tasks a few years back, so this shouldn't be too bad.

And this is actually one of the few threads that have interested me in MT in a while.
#64
after much experimentation I believe I have developed my theme.. follows the chords Amaj7, Cmaj9 and Dbmaj9. kinda interesting and sounds pleasant enough.

I took the first four notes as being in A major with the Bb being a passing tone to B, I sat on the A and G# for a bit (I love maj7s). then I went to Cmaj9, drawing from that 6 1 thing that I find so common in blues and rock licks. then with some tomfoolery harmonisation I took the G# as a passing tone to F#, and settled on F for the Dbmaj9. At first I thought this was going to sound like junk but I'm slowly getting there. My theme is in 6/4 btw, just because of a nice sounding pattern I wanted to use for a second harmony.

it seems kind of drawn out though.. but I had to let everything sit for a bit or my harmony would probably sound messed up. this is a delicate struggle lol..

edit: the Cmaj9 to Dbmaj9 sounds very sweet to my ears for some reason.. could be the way I phrased the melody, it kind of makes the F at the end resolve. the whole thing gives a very peculiar mood, I think the real challenge is going to be expanding on it with other equally strange movements
Last edited by Ead at Sep 23, 2008,
#65
I've decided to make these notes sweet sounding, rather than an atonal mess :P

So far I've settled into D minor, originally from the point of F major, and I've got a V-I-V-IV-III progression.
I have a violin playing the melody, with piano the accompaniment.

For the melody, I really just looked at what notes were accidentals, and made these smaller than the normal notes. As for choosing the chords, I just chose the most fitting chords for the notes above them. They're nothing stunning, but I wasn't going for anything fancy, just enough to support the melody (I also suck at chords).

It's so damn short though, I really need to find a way of extending it.

Once we've established the main theme, can we add imitation and/or change notes?
Call me Batman.
Last edited by J.A.M at Sep 23, 2008,
#66
ok, since I don't recall any rule about not adding more notes in other sections and whatnot, I'm venturing into the key that my theme left me in, Db major, and going with some sweet ionian b6 (whats the name for that scale?) and jazzy diatonic progressions and melodies, and I have an idea to return to the theme that will sound strong. no idea what i'll come up with for the second section yet.. when I finish I'll upload it and give an analysis explaining my note choice and progressions and whatnot.

it's giving me a really mellow mood, kind of like kicking back in a hammock on a beach with a bright red orange sunset and calm waters and a smooth drink.. could be from the steel drums lol.

I think once this settles out, we should keep more going. I hope we'll hear lots of interesting stuff from everyone
#67
ionian b6 (whats the name for that scale?)


It would generally be called harmonic major. It's actually not terribly uncommon to use a minor sub-dominant chord in a major key, which, I guess, could be thought of as a borrowed chord from harmonic major.

It's so damn short though, I really need to find a way of extending it.


Keep in mind that those notes only dictate the main theme. You're certainly not restricted to them throughout the entire piece. You can develop the theme in whatever way you see fit, and you can certainly introduce other melodies.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
Last edited by Archeo Avis at Sep 23, 2008,
#68
Quote by The4thHorsemen
I'm actually liking Gonzaw's Madness, I'd really like it if you developed it more. It's just crazy and erratic and.... mad. but in a good way. it's like... nothing I've ever heard it before, but it holds your attention and makes you think wtf?


I don't know how to continue it (have to figure out some stuff about it first, I didn't pay much attention to it)
The piece has to have 3 movements right?
#69
Quote by gonzaw
I don't know how to continue it (have to figure out some stuff about it first, I didn't pay much attention to it)
The piece has to have 3 movements right?


They can be separate movements entirely, or a single piece with contrasting sections (as in verse-chorus-verse, or something similar)
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#70
I've decided that a good place to begin is with the notes I've been given. I've made a lead sheet with Sibelius consisting of the sequence of notes, in order, as well as various permutations and inversions. I'll upload this later today for anyone who may find it useful. There are two things you should know about transcriptions of my work: One, I very rarely use key signatures. Two, notes are meant to be played as written. I do not (or not always, and not in this case) use natural signs to cancel out earlier accidentals. If a note is meant to be played sharp, it will be labeled as sharp. If it isn't, it won't.

Working with the notes was difficult at first, and hearing them without context was nothing short of unpleasant, but after developing the skeleton of a progression and hearing them in a rough context, I've stumbled upon an interpretation that not only sounds acceptable, but borders on pleasant. I'm having some difficulty dealing with the two final notes, the F# and F, but I think I've thought of a way to make my quirky time signature work to my advantage by using both those notes and the beat as a sort of "transition" back to the beginning of the theme. As for the "process", there's not much to be said. At this early stage, all I've really done is improvised with the melody. Once my recording gear is up and running, I'll post a soundclip.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#71
I decided the hell with pleasant I am doing some atonal stuff.....
Kind of resolves to A, or to F at times though...


EDIT:Kind of finished it...

I dunno if this is what you wanted it to be like (restrinction-wise) though....


EDIT2:Added MIDI
Attachments:
Madness 3.zip
Last edited by gonzaw at Sep 24, 2008,
#72
Not sure if I'll participate in this yet, but I just wanted to say that this is a pretty cool project.
I listened to some of the work so far and it's nice stuff. I honestly don't think I would have the discipline to undertake something that restricted though... I'd get an idea halfway through then go off on a tangent.

Also, after reading your first couple of posts Archeo, I also have a title and atmosphere even before I start to write. I finished a prog/jazz piece a few days ago off of a title and numerous mental images that had been swimming in my head for months. It feels good to get at least something that's in your head out into music, but it usually ends up completely different than I originally imagined.

But yeah, just trying to add to the conversation. I'm excited to read and listen to what people come up with; especially the thought process.
#73
Half Joking.

But seriously, I might try this.

edit: Errrr, those are the notes in order. Am I breaking rules?
Attachments:
compositionofdestiny.zip
Quote by TGautier13
Because e-cred on a sub-par 4Chan knockoff forum is what everyone strives to achieve.
We believe - so we're misled
We assume - so we're played
We confide - so we're deceived
We trust - so we're betrayed
Last edited by ramm_ty at Sep 23, 2008,
#74
that was interesting to listen to, gonzaw.. all I can say is it's pure madness lol. I really liked how menacing the timpani sounded, and that weird guitar kinda caught my ear.

anyway, I've gone the pleasant route, and this is what I have so far. the second time I do the theme I varied it and it sounds smoother, but I took the liberty of adding a note or two on the Cmaj9.

might as well explain what I've done so far..
to choose my harmony, i looked at the notes and grouped them into tones that would sound pleasant (enough) over chords I like, being maj7s and maj9s. i took the A, Bb, B, D, G# and put them over an A G# string harmony. of course the Bb is pretty much unusable there, so i made it a grace note. I may be taking shortcuts, but i'm in the spirit of it, right?
then A and C for Cmaj9, pretty simple.

now i couldnt figure out what to do with the G#, F# F, but of course it's that cliche phrygian thing. I like to end melodies on the third of a chord, and in a I or V chord that melody ends on the phrygian or locrian "note", respectively. So I said what the hell I'll move the Cmaj9 up to Dbmaj9, making the phrygian melody land on the third of Db. I made the Ab (G#) into a passing tone into the F#, which wasn't really neccesary because it's the 5th of Db, but I wanted the F# to line up with that repeating harmony line I have in the background and it flowed quite nicely.

Anyway, that's my theme.. i did all this in guitar pro, now it was time to get extra creative so I hauled out my Kelly the mood my theme left me in gave me a clear idea of where i wanted to go next, and that involved b6's in the key of Db. so I came up with the little lead in lick, going up from Db to A, the b6. now i find b6's make for very bittersweet or haunting harmony and melodies, so I formed harmony based on the b6. it goes Fmaj7, Dbmaj7, A+, Dbmaj7.

Return to the theme: The last time the Dbmaj7 rolls around, i sat on Db (enharmonic to C#), and switched up the repeating harmony line, which was repeating on G#/F, Db (C#), to G#/E, C# (Db), which is what I had going at the first to back up my Amaj7. then i repeated the theme, but with improved phrasing. I spaced the notes out this time and added an A and a G to make the G# F# F sound more like a chromatic line and have more downward pull.

After that's done again i go into my B section, which is happier.. still working on it. features the iiadd9, V, iii, I6 progression i mentioned in the chat thread.. I'm thinking the I6 resolves as a vi on it's own though. It definitely resolves as a I the second time because I made a an epic melody ending on Db. Nothing complicated about the melody there, just hitting chord tones on the downbeats and making it flow.

anyway hope you find it interesting and maybe pick up a quirk or two of mine :P more to come

guitar pro and midi file attached
Attachments:
Ead's composition exercise.zip
Last edited by Ead at Sep 23, 2008,
#75
I'm quite intrigued with this, I'll have to get Guitar Pro or, preferably, Sibelius, on this computer.. but who knows if it will run it (slow POS). I'll hopefully have something up with a few days but I'll be keeping an eye on this thread. Nice post Archeo.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#76
Quote by gonzaw
I decided the hell with pleasant I am doing some atonal stuff.....
Kind of resolves to A, or to F at times though...


EDIT:Kind of finished it...

I dunno if this is what you wanted it to be like (restriction-wise) though....


wow, I love that! see, something actually good came out of this! I love how in the second movement you had that french horn then the timpani come in, that timpani sounded evil as shit.
#77
I gotta say, you guys did a great job. I listened to Gonzaws and Eads....... both sounded very cool. You guys really put something into this. Nice work
shred is gaudy music
Last edited by GuitarMunky at Sep 24, 2008,
#78
I'm honestly impressed by how much some of you have done. I'm lucky if I can even decide on a melody in that length of time (I have, by the way, decided on the melody. I'll record my rough interpretation of the main theme and post it tonight)
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#79
Gonzaw (and anyone else) could you also add a midi sequence for those of us not using GP?
(Slightly outdated) Electronic and classical compositions by m'self: Check 'em out
#80
Unfortunately, I picked up the wrong audio cable and can't record my take on the theme (Easily correctable. I'll pick one up next time I'm out). I took the liberty of creating a short MIDI file though. It was difficult to get anything even remotely resembling the sound quality of my keyboard, but it gives you a rough idea of where I'm going with it. It goes on further, but I didn't want to have to punch everything in by hand so I'm loading only the most essential part of it now. It sounds like it resolves terribly, but I've actually developed a a way to treat the dissonance so that it sounds quite pleasant. You'll get a better idea of where I'm going with it when I upload a recording, but for now...

http://www.yousendit.com/download/bVlDNWN0NEgwZ2xMWEE9PQ
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.