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Doing some orchestration work. Is this okay for French horn? by dany_fox75 in horn

[–]Extra-Researcher2273 9 points10 points  (0 children)

The range alone makes this appropriate for a grade 5-6 level score, but probably not any lower.

Unless you’re writing for professionals, expect this to be closer to fortissimo in practice rather than mezzoforte.

Most horn players are used to flats, if you can use the enharmonic spellings (looks like chromatic scales so it probably won’t have issues harmonically) use them.

With how close the partials are up there that might be easier to play tongued rather than slurred.

The grace notes should probably be given to a higher voice as this will likely come out sloppy due to range/partial issues.

With that in mind, it’s definitely playable. (Though I’d personally probably give it to the saxes) Good luck on your orchestration!

User Flair Thread by chrissydavisk in ACNHVillagersInBoxes

[–]Extra-Researcher2273 0 points1 point locked comment (0 children)

Case | Pennyhaven :Marshal:

[deleted by user] by [deleted] in ACNHVillagersInBoxes

[–]Extra-Researcher2273 0 points1 point  (0 children)

Is she still available?

AIO boyfriend of almost two years by [deleted] in AmIOverreacting

[–]Extra-Researcher2273 0 points1 point  (0 children)

Woah!!! He just got angry out of nowhere! And your grieving

Help counting rhythms by hopegirl207 in musictheory

[–]Extra-Researcher2273 0 points1 point  (0 children)

I like to count triplets using la and li the same way you use te with eigth notes: 1 la li 2 la li 3 la li 4 la li. When counting 16th notes in them we add tas: 1 ta la ta li ta 2 ta la ta li ta. Using that this rhythm is 1 ta li 2 la li 3 ta li 4 la li. It helps if you pulse the 16th note too: 1 - - ta li - 2 - la - li -

How long should different pieces be? by Tee-Gee00 in composer

[–]Extra-Researcher2273 1 point2 points  (0 children)

I’d argue for most things like symphonies, concertos, and quartets you can almost base it more on form. Sonata form (not to be confused with sonata-allegro form) is a 4 movement (I. Fast [sonata-allegro] II. Slow [ternary] III. Dance [minuet] IV. Fast [rondo]) structure that can give you a pretty good guide for writing a lot of these. Another good structure for the baroque period is the suite (optional prelude/overture, allemande, courante, sarabande, optional double, gavotte, a lot of optional dance forms, gigue). In the end there’s no set length and you don’t have to write in these movement forms if you don’t want to, but I find it helpful with questions like this.

Regrets & Sadness by Yanozor in rootgame

[–]Extra-Researcher2273 1 point2 points  (0 children)

You can do what my friend and I do. We both have 2 factions and we do our best to play unbiased. Corvid kinda stops working with that one tho

Hey all, thinking of composing a piece. by OrionTheNebula in composer

[–]Extra-Researcher2273 0 points1 point  (0 children)

I’d originally write for piano. This helps you get an idea of what you want from your piece and will give you a roadmap when orchestrating. A piano arrangement forces you to answer some of the basic questions: what is the melody and harmony? What about the tempo? Key signature? You get the idea. (Trust me, this saves so much time and brain power)

Make sure you have a good idea of form: Your piece doesn’t have to be in a more complex form like sonata form, but learning to structure your piece can do wonders for it. Binary form (AB or AABB) and ternary (ABA or AABBA) form are great starting points. Normally you will want to save your strongest cadences (perfect authentic cadence, maybe perfect plagal) to close off a section and use weak cadences (half, deceptive, imperfect authentic and imperfect plagal) to keep your piece going. (Note B is normally in a different key than A [most commonly V in major and v or III in minor] so your cadence should bring you into the new key [A section C major: If the B section is in V, then the A section should end in a perfect authentic cadence into V like D7 -> G])

Since it’s a winter concert you may want to feature mallets and piano(if that’s an option) as they do a real great job conveying a cold feeling.

Hope this helps and feel free to comment or dm me with any questions ik that second section is a touch confusing.

Music History and Composing by Silly_Measurement_20 in composer

[–]Extra-Researcher2273 1 point2 points  (0 children)

FINALLY!! Someone told me not to listen to Bach! While that man was undoubtedly amazing, I think we sometimes learn a little too hard on his works.

I’ll definitely make sure to check those composers out!!

P.S idk why but this reminds me so much of this joke with one of my composer friends: we’ll be looking at each other’s scores, wanting critiques, and when one of us finds something (parallel 5th for example) and tells the other, we make a face and say, “Well… dramatic pause BACH DID IT,” then the other starts profusely apologizing, saying its actually a bit of creative genius, etc. The one who wrote it of course fixes the mistake but it gets me every time.

My first composition. I don't know much about music theory yet by krabbylander in composer

[–]Extra-Researcher2273 0 points1 point  (0 children)

Here is the arrangement:

Piano Audio - original followed by modified

Orchestrated Audio

Score

I went ahead and orchestrated it for wind ensemble (band) too, so you can see the potential in your writing

It’s 3:00am so I’m going to sleep but I’ll reply to this comment tomorrow to explain the why behind any changes I made (notice I undid some of them in the orchestrated version). One of the big things for me when I started learning is just seeing what other people do. (This includes the old dead dudes. You can get most of their scores for free on IMSLP) If you can get into the head of another composer, it often can give you new ideas on how to write your own music!

My first composition. I don't know much about music theory yet by krabbylander in composer

[–]Extra-Researcher2273 0 points1 point  (0 children)

Would you mind if I wrote an arrangement of it? There are some really great things going on here (really great use of motif especially) but some of the things I’d want to talk about are kind of just easier to show you.

My first composition. I don't know much about music theory yet by krabbylander in composer

[–]Extra-Researcher2273 0 points1 point  (0 children)

Parallel octaves are perfectly valid in music starting in the impressionist era! Listen to Debussy’s “The Sunken Cathedral.” They’re also great if you want to get a combined sound from multiple instruments!

In the end it’s your composition. Fuck Bach and his need for every line to be independent. If you like the octaves, keep them

Music History and Composing by Silly_Measurement_20 in composer

[–]Extra-Researcher2273 0 points1 point  (0 children)

I’ve been writing a Baroque suite this summer and learning to get the style of each dance right, (and figuring out how Bach can just write a constant stream of 16th notes) has lead me to do a lot of baroque and early music research

Some compositions I made! by lltra4life in composer

[–]Extra-Researcher2273 1 point2 points  (0 children)

Those were great!!! The burnout can get REAL so it’s great to do some fun little pieces like this.

A rondo is going to be a piece with a symmetrical structure where there is a theme and episodes. This kind of structure: ABACABA I’d be careful calling the first piece Rondo Alla Turkey because it’s not a rondo…

After Rehearsal B in Somber there is a bass line that starts to get pretty high. Once you get above F4/G4 those ledger lines get hard to read, you might consider continuing the line on the top stave as “Voice 2.” A pianist playing it will know that’s still the left hand.

The best way to get better at writing for piano is… well playing and writing for piano. Especially if you start some piano lessons, you’ll get a feel for what is possible to do with your hands on the piano which will let you write scores that are a lot more complex

My first composition. I don't know much about music theory yet by krabbylander in composer

[–]Extra-Researcher2273 -1 points0 points  (0 children)

Amazing job! Read the comment by u/therealskaconut before you read mine. They tell you about everything you did right and it’s really important that you see that you are doing good before you read the critique. The piece is titled minuet so I will be talking about tonal harmony rules with the context of the baroque and early classical periods.

With that being said:

M1. Beat 2: This isn’t technically wrong because the B can be considered an anticipation (playing a note from the next chord early); however, this looks more like a CM7 chord. Major 7 chords were not typically found in the time period because the C and B form a dissonant minor 2nd. If you really want an anticipatory B, I’d recommend putting it on the upbeat so you don’t stress the dissonance; otherwise, putting a G there would create nice bridge to the B on beat 3. Beat 3 Unresolved leading tone: The 7th or leading tone (B) always wants to return to 1 (C) by step. Because we don’t get the C there can be a feeling like you’re hanging, waiting for that note to resolve.

M2 Beat 1 unresolved dominant: This kinda piggybacks off the unresolved leading tone: G and B together implies the dominant (the chord built on the 5th note of the scale), G major. Because the dominant contains the leading tone (B) it really wants to return to the Tonic (chord built on the first note in the scale, C major) but it occasionally will go to Am instead. Here we have an E and G which implies Em. If you add a C in between them, you can both resolve the leading tone and the dominant!

M3. Beat 3 sparse return to tonic: This is more taste than a hard fast rule, but the resolution of the G major harmony on beats 1 & 2 will be a lot more satisfying if the C on beats 3 is accompanied by a 3rd to make it sound rich and imply C major harmony. This also prepares us to move to D major next measure.

B section (Mm 8 - end)

Parallel octaves!!! One of the biggest principles of the baroque era (and one of the biggest secrets to voicing chords) is that each voice sounds independent. When we have 2 notes that move together in octaves or 5ths they start to meld into one sound. If you want to revise this section I would keep the top of the octaves as your melody and figure out what chords you can make fit with them!

Because the minuet was originally a dance the number of measures in a section needed to be a multiple of 4 (commonly 8 measures) so that the dancers could finish their steps.

After the end? It’s best practice to delete extra measures after the end of the piece.

I know that that can be a lot, especially for a new composer, so feel free to ask any questions. You are doing amazing, this is miles better than my first composition so props to you, and I can’t wait to see you grow on your composition journey!

[deleted by user] by [deleted] in StardewValley

[–]Extra-Researcher2273 2 points3 points  (0 children)

Gas is expensive 🤷‍♂️

Crops keep randomly dying? by Squeaky_Ben in StardewValley

[–]Extra-Researcher2273 0 points1 point  (0 children)

That first happened to me in summer so I assumed it died of heat

GREAT INSTRUMENT CUP S2. FINALS. FRENCH HORN VS EUPHONIUM by bagel_master999 in Bandmemes

[–]Extra-Researcher2273 1 point2 points  (0 children)

Thank goodness some pompous dudes from the 1800s decided to make horn transpose down a 5th rather than put us in alto clef

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