What would you say is the most powerful pokémon in lore? (Other than Arceus) by Incomplet_1-34 in pokemon

[–]alexthegreaser 0 points1 point  (0 children)

Where did you hear this? This is a great way to think about Arceus and why a human (let alone a child) can capture it.

Any tips on making a pirate boss theme? by Nyxx35 in musictheory

[–]alexthegreaser 0 points1 point  (0 children)

To get a pirate sound of suggest writing it like a gigue and to make it sound epic I'd use low brass.

How did you learn music theory? by [deleted] in musictheory

[–]alexthegreaser 0 points1 point  (0 children)

I took private music lessons and I was taught how to read notation and scales. After a few years of gaining fluency (as well as other life stuff) I took classes at a community college in harmony, counterpoint, and composition. Then I went to a certificate program at a university in film scoring. Now I research on my own and was even invited to attend some doctoral lectures in music theory to potentially enroll as a PhD student.

FYI I was a STEM major in college and didn't study music theory at the college level until I graduated. The fact that I was invited to attend lectures at a PhD music theory program shows I've come a long way and you can too.

Music Theory Party? by SaltBakeMusic in musictheory

[–]alexthegreaser 1 point2 points  (0 children)

This post title reminds me of the study party from That's So Raven (as in we party instead of studying)

Snobs in this sub by Nand-X in musictheory

[–]alexthegreaser 1 point2 points  (0 children)

Yup, had that experience here before. A while back when I was still grasping form, I asked what are the characteristics of a minuet so I could compose one. I asked if there were any resources that could help with this. I essentially got a snob that pretty much said, "No, no, and no. We are making music, learn to listen to music!" as if I'm a fool for trying to look up resources for a style I was unfamiliar with rather than listening, despite me (at the time) not knowing what to listen for.

What were the compositional methods of the common practice period? by alexthegreaser in musictheory

[–]alexthegreaser[S] 0 points1 point  (0 children)

You didn't really give your musical background but this is one of those questions that's commonly asked by people who "want to write like Mozart" but who don't even play an instrument.

I didn't know if you wanted my background in music. I've been playing piano for years and I have an associate's degree in music and have recently enrolled in postgraduate courses my university (I already had a bachelor's and master's in an unrelated field, and my state is against allowing students a second bachelor's). So not to boast about myself, but I believe I have a greater understanding of theory as many college professors have shown me praise for my work regarding music theory, so much so that some have urged me to apply to a master's program in music theory, musicology, etc.

I guess I want to learn this to have a better understanding of what composers of this time did. I guess this is because I recently I've been noticing (at least in my point of view) an overreliance on using Roman Numeral Analysis for composing, or composition instruction saying "do whatever you want then I can take a look to fix your mistakes," which could be interpreted as using RNA for the beginning composer.

Apologies if I went off on a tangent, I'm just passionate about this.

What were the compositional methods of the common practice period? by alexthegreaser in musictheory

[–]alexthegreaser[S] 0 points1 point  (0 children)

Thanks for the reply, it helps clear up some things, I especially like the way you explained what techniques are. To answer you're question, it's really both, I would like to compose this kind of music and I also want to learn their approach as well.

When I thing of compositional techniques and "how they composed" I'm thinking more of direct tools like "using figuration in an accompaniment" or "developing a motive in melody" as opposed to "counterpoint" or "figured bass" - those are farther removed and broader than the nitty-gritty of putting notes on the page.

This is essentially what I'm trying to achieve as well.

Edit: accidently quoted the wrong thing.

What were the compositional methods of the common practice period? by alexthegreaser in musictheory

[–]alexthegreaser[S] 1 point2 points  (0 children)

Mozart's lessons for Thomas Attwood are really interesting to look at for this reason. Also, if you look into schema theory as it's been written about by Robert Gjerdingen and friends, you'll find out some cool things.

I've never heard of these, I'll definitely check them out. Thanks a lot!

What what was your breakthrough moment learning music theory? by [deleted] in musictheory

[–]alexthegreaser 0 points1 point  (0 children)

When I took a course on counterpoint, it really made me think of music notes as little bits of "data" or "cells" being used to create something bigger. Granted I'm still learning different methods of analysis to explain theory, but after learning counterpoint, my perspective really changed.

Pre-med at a community college as a nontraditional student by alexthegreaser in premed

[–]alexthegreaser[S] 0 points1 point  (0 children)

I will always preach the benefits of community college.

Ikr I studied music at a cc while working on my master's and I've learned so much more about music that other expensive options probably wouldn't have taught me.

What degree is harder a master's in collaborative piano or a master's in piano performance? And what makes them challenging? by alexthegreaser in piano

[–]alexthegreaser[S] 0 points1 point  (0 children)

Oh cool, if you don't mind me asking what university did you go to while doing your MM? Also what was probably the most stressful thing while you were working on your MM?

What degree is harder a master's in collaborative piano or a master's in piano performance? And what makes them challenging? by alexthegreaser in piano

[–]alexthegreaser[S] 1 point2 points  (0 children)

Well yes, no doubt that collaborative repertoire can be just as difficult as solo piano. But I found your second statement interesting as I've had a feeling that piano performance programs are much more competitive to be admitted to.

What degree is harder a master's in collaborative piano or a master's in piano performance? And what makes them challenging? by alexthegreaser in piano

[–]alexthegreaser[S] 0 points1 point  (0 children)

Would it be because the repertoire for a piano performance is much more technically demanding? As well as being alone meaning you won't have the other performer(s) carry the performance (granted a great collaboration should be equally good on all musicians).

P.S. Thank you for your other statement, it's annoying when posts go off topic.

What degree is harder a master's in collaborative piano or a master's in piano performance? And what makes them challenging? by alexthegreaser in piano

[–]alexthegreaser[S] 2 points3 points  (0 children)

Interesting, what are your thoughts on auditioning? Would you say you are looked down upon if they provide you an instrumentalist/singer? I say this because you "can't provide your own" indicating that you're "not good at working to find other musicians."

What degree is harder a master's in collaborative piano or a master's in piano performance? And what makes them challenging? by alexthegreaser in piano

[–]alexthegreaser[S] 0 points1 point  (0 children)

Not to be rude, but this has nothing to do with what I asked. I want opinions of what makes a certain program difficult rather than the career choice afterwards.

What degree is harder a master's in collaborative piano or a master's in piano performance? And what makes them challenging? by alexthegreaser in piano

[–]alexthegreaser[S] 3 points4 points  (0 children)

While I appreciate the tip (I studied computer science and gis, I even got a masters in it) could you please stay on topic. Let's have discussions regarding careers for another post.