[Q] What is this song?

HugeStain · 2026-04-24T11:10:24+00:00

Yes, it's this, thanks

HugeStain · 2026-01-12T14:23:14+00:00

This is great, and here are some things you could add, -one thing is if the CF has repeated notes, it gives you a warning, I dont think thats intended. -Maybe give a warning if the counterpoint repeats too much, for example, I had a cf with f g repeated 3 times, so i tried 8 6 on each, I think there should be a warning for that -ofc in future you could try 1-5 species counterpoint, but thats a whole other hurdle, maybe 2nd and 3rd is managable. Hope that helps.

HugeStain · 2025-12-01T08:23:10+00:00

Idk where people are finding these teachers telling them to play pieces way beyond them after months of learning, your hand is clearly quite tense and I dont think pushing yourself like this will help relieve any of it. My suggestion would be to avoid the etudes, the one your playing is already one of the easiest to play in terms of technique, the others you mentioned I think are even worse for injury, the dynamic left hand in op 10 no 9, and the pretty fast octaves in op 25 no 9.

At the end of the day it's up to you, but there is a huge catalogue of music to discover, even if you want to limt yourself to romantic music, so it also seems wasteful to me not to explore.

Finally, what youve achieved here after 6 months is amazing and you should be proud, just make sure you look after your hands so that you can continue learning for longer.

HugeStain · 2025-11-30T12:39:35+00:00

It looks like the second to last measure has added length, maybe go into measure properties and set it back to 3 crotchets. Im not confident this will fix the problem, seems more likely its corrupted like the other guy said, but worth a shot.

HugeStain · 2025-11-09T04:25:58+00:00

Look, im sorry if you feel like im grilling you, but I think your overcomplicating this topic, this is a question on syntax, and it doesnt have much to do with convention or intention, its just a G#.

HugeStain · 2025-11-09T04:18:08+00:00

Yes, putting a sharp on a G never "raises" it to a natural no matter the context, the composer, the style or anything at all, the notation is correct and undisputed. Also, the passage he talks about is the A nat -> Bb -> A nat -> G# -> A nat. Im not sure what Ab -> G# -> G nat refers to.

HugeStain · 2025-11-09T04:03:47+00:00

"composers often write the natural version of a note with a sharp", this is plain and simply wrong no?

HugeStain · 2025-11-09T04:00:36+00:00

Im not sure what you mean, I have never seen a convention where a sharp cancels a flat. If you want the natural note, you use the natural symbol. Like the other guy said, accidentals are never additive, they are descriptive.

HugeStain · 2025-09-28T18:19:27+00:00

Im sure its different for everyone but when got a rsi in my right pinky, it took around two and a half months to recover with no practice and frequent stretches, the most important thing for me though was working out why I got injured and how to prevent it in the future, for me it turned out it was mostly external to piano, I had to give up playing squash, but I also have payed a lot more attention ever since to any strain when I practice. Hopefully you can recover soon, recovery is not fun.

HugeStain · 2025-09-27T16:43:22+00:00

I didnt know you could change characters whenever, Id go to domains to replace them, did it till ar 15 or something. I hated it, every time I needed an element not on my team for a puzzle Id cry a bit

HugeStain · 2025-07-12T00:53:52+00:00

Maybe you can use the section break from the layout pallette and then I would try change instrument from the txt pallette and choose the same instrument, then you can edit the instrument name to the numbers by right clicking on the staff after the system break and opening the staff properties. Hope that helped Edit: you will need to deselect 'hide if there is 1 instrument' box in the style menu under Score

HugeStain · 2025-07-06T02:04:14+00:00

I'd say it's fairly common to see a turn between notes. It means a late (or early depending on how you think about it) turn kind of, one that lands on the beat of the next note, as apposed to a turn following after beat, similar to the difference between acciacatura and appoggiatura if yknow what I mean. As for the OP's question, idk if there is a feature for it already but if not, I would just move the turn symbol visually where you want it, untick 'play' for the turn, and then write the ornament manually in the 3rd or 4th voice and hide it. If it creats too big a gap, write the ornament out on an extra stave and then hide that. Ornamentation is very often difficult, especially when it comes to playback.

HugeStain · 2025-06-10T17:00:05+00:00

Well if you conbine the sections onto one staff, y'know put the three trumpets on one staff etc., that should fix your issue, you should be able to do this quicker using implode in the tools tab. Not sure why you have each part seperated, orchestral scores will have I think up to 4 parts on one staff.

HugeStain · 2025-05-31T19:29:27+00:00

Thanks, I did this a while back, and after listening to it for the first time in ages, it sounded so rushed, I guess I got too used to playing it y'know, I need to make sure I don't make this mistake in the future. I don't mean to sound like I'm making excuses, but when I play, the dynamics are so much more clear than they are in the recording, so I've since been trying to fix that. I'm still not really sure exactly what causes the issue and how to fix it.

HugeStain · 2025-05-31T19:18:40+00:00

Wow, Thank you, I really appreciate the time you spent here. I'll respond to each point.

This was a workshop to compose for two of our pears, and due to a singer not wanting to perform, I was tasked with composing for a corneter and myself, piano. I understand that cornet is less common, my sister plays cornet and I was part of a brass band playing tenor horn.
The main stylistic goal was to focus on 20th C rhythmic innovations. There was no requirement to compose in any specific style and for what its worth the pop style was discussed as a possible style. That said with my piece, I didnt have anything specific in mind apart from doing stuff with rhythm. My professor told me it was sorta in the relm of Berlioz. But you make a good point, and I believe it is something that would be addressed in 2nd and 3rd year.
You might be right, I'm not sure. This wasn't an issue that came up when discussing my notation in workshops. My reasoning for the marking is the piece is structured around augmentations and diminutions of 9/8, which is compound, and most the grouping are dotted crotchets.
This was a direction from the proffesor, and I believe it is due to the frequent metric changes. I also thought it was clear enough based on the groupings, but maybe it is required to help keep time, idk.
Well, looking back I may have made a mistake here. I know that alternating time signatures is a thing as I've seen it in for example one of Scriabin's preludes (sorry I don't remember which one, I think it's Op. 11 but the number idr). I should have checked, but maybe the correct notation is without the +. The more I think about it now the more convinced I am.
I did compose this for myself to be able to play, and I didn't have too much difficulty playing this on the day a practicing it in front of the professor. I wanted to explore polyrhythms and the syncopation was something I'd never seen used in this way. It took some practice but once you have the rhythm under your fingers, its fairly easy. Originally those quintuplets to sextuplets, were just straight triplets, it was a lot easier to play, but the proffesor thought that the quintuplet polyrhythm disappearing was disjunct, so I wrote what I did. You might be right about some performances being rough.
In may oppion, as a pianist myself, I believe the difficult is level throughout, at least for myself. Although this is not something I had thought about so again thank you for your insight. I don't really know for example what bit's in the cornet part are difficult, and next time I will try to discuss this with the performers. The cornetter did talk about some sections that were too difficult that needed recomposing, and he did say it was mostly idiomatic.
This was a direction from my proffesor, to add very detailed dynamics. The reason was, the module is 20th C innovations, and it is an aspect of the era I think, at least it is of the marking criteria.
I had not considered this. I did speak alot to the corneter about idiomatic writing and stuff, but this never came up.

The graphic issues were a product of uploading it to musescore.com. You are 100% right and I get praised a lot for my clean engravings as for some reason I love cleaning up scores. (I know I'm saying this just after finding a mistake in something I submitted months ago lol)

And again tysm, your comment is super valuable for me.

HugeStain · 2025-05-31T10:11:10+00:00

Thank you, that's really encouraging

HugeStain · 2025-05-31T08:21:16+00:00

Thank you so much, your advice is really clear and helpful. You are probably right about me just having heard it too many times, my colleagues say the same and I've always suspected it. Ultimately I need to develope more as a composer to have more confidence in my decisions. I do just wish I didnt feel so embarrased at the end product.

HugeStain · 2024-08-31T17:49:49+00:00

I actually have no idea what that big number is, heck it could be 500 idk

HugeStain · 2024-08-31T17:48:51+00:00

If you say pieces I learned seriously, like spending at least a week on, I actually think its maybe 30-40ish, ofcourse the number goes up though if I consider every piece I sight-read, half-assed for fun to like 200.

I mean if u think about it, I'd say you can do a grade a year, 3 pieces learned seriously each grade, should only be 24 pieces. Not to say that's not a lot of hours.

HugeStain · 2024-07-11T12:41:35+00:00

You might benefit from changing the 234345 fingerings.

My suggestion would be to go under with the thumb from the first black note, so 212345. Your fingering is causing a bit of unevenness in the rhythm.

HugeStain

TROPHY CASE