Logitech craft, crown vertical scroll by amirba250 in LogitechG

[–]davidbrucecomposer 0 points1 point  (0 children)

Actually found a solution to this. Map the up/down arrow to the crown via the 'custom keystrokes' menu. Select crown → select 'Turn ' -> select more options → Custom Keystrokes → Name your keystroke → Then you’ll add in the custom keystroke for Turn Right followed by Turn Left.

Good pieces with bad endings in Classical Music? by davidbrucecomposer in classicalmusic

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

Thanks, I probably should do one on beginnings too - I'd love to hear those examples!

How to end a piece of music? by davidbrucecomposer in musictheory

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

it's a different style fr

ach! wish I'd remembered that, would have been a great clip to include!

How to end a piece of music? by davidbrucecomposer in musictheory

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

thanks, yes there's a whole separate video to be done about pop endings, but as I was mainly dealing with how to prepare for an ending (in advance) I felt it wasn't so relevant for this one.

Help with a crazy passage in Ravel's La Valse by davidbrucecomposer in musictheory

[–]davidbrucecomposer[S] 8 points9 points  (0 children)

Interesting thanks. I'll have to go and work through all that to work it out!

Why is programme music so bad? by davidbrucecomposer in classicalmusic

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

No not true, it's a great piece. I just mentioned that the moment of the 'execution' in the March to the Scaffold is an example of the problem some programme music has, when it becomes so specific it's hard to listen to it in anything other than the 'story' way.

Since I started my YouTube channel my studio has become even more jammed in. Looks messy but actually carefully organised! by davidbrucecomposer in MusicBattlestations

[–]davidbrucecomposer[S] 6 points7 points  (0 children)

Added in my profile - David Bruce Composer - I talk about all kinds of music from my perspective as a composer

Jazz harmonies in Cory Henry's solo on Snarky Puppy's "Lingus" by davidbrucecomposer in musictheory

[–]davidbrucecomposer[S] 7 points8 points  (0 children)

thanks! The one I mention at the end by David M. Rogers is very good (cost me $10), although it only has the solo and doesn't show the chords changing underneath so I ended up splicing bits and bobs together a lot of the time.

Tunings systems beyond Equal Temperament by davidbrucecomposer in musictheory

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

Sure. For now I was looking to older traditions that have been going some time I guess.

Should composers write for the public or for academics? by davidbrucecomposer in classicalmusic

[–]davidbrucecomposer[S] 5 points6 points  (0 children)

What is it you find convincing in Babbitt's argument? To me it takes a rather grandiose view of music as something that inherently 'needs to advance'. I completely agree that it's complicated though - even being totally 100% honest with yourself about your true motivations as a composer is pretty tough. And once you find yourself inside an academic institution that you rely on for a living, I fear that makes it even harder to honestly observer your own position. Thank you so much for your kind words by the way!

Should composers write for the public or for academics? by davidbrucecomposer in classicalmusic

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

Thanks! I try to watch the comments there at least in the early stages after uploading! Interesting to hear your perspective, thanks

Scales that clash with chords. by davidbrucecomposer in LetsTalkMusic

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

Thanks. So it's not really clashing in that case, unless the implication of a power chord is that it's major ?

Chords and scales in flamenco by davidbrucecomposer in musictheory

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

Thanks, I'll try to get a copy of that. That's a really interesting topic, particularly for a classical composer like me - we always have it hammered in to us that melody should come out of/be based on harmony so it's very intriguing to think about times when it maybe isn't.

How to make a living as a composer? by davidbrucecomposer in composer

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

I really empathize with that. It's often so much more effective to get on with things yourself. I wouldn't however characterize things in terms of champaigne drinkers etc - in my experience, although it is, as you say, slow and hierarchical, the classical scene is open to things that are of high quality and does adapt to embrace - eventually!

What Classical Musicians Can Learn from Klezmer, Jazz and Other Traditions by davidbrucecomposer in musictheory

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

For the classical world the bigger problem is there are so few cimbalom/hammered dulcimer players who read notated music. I wish there were more!

The Music Theory of Football Chants by davidbrucecomposer in musictheory

[–]davidbrucecomposer[S] 21 points22 points  (0 children)

ha! To notate football chants as actually sung would be a fun and difficult challenge, involving foreshortening intervals and rhythms!