Does anyone here cumpose?


#1

How many of you mofo’s have had a go? I remember one dude posting some of his stuff here.
You don’t realise how bloody had it is until you try.
I do a lot of arranging which is so much easier. I guess that’s obvious when you’re working with material you already have.
Trying to write something for strings atm (I find it more difficult to write for da 88), it’s so slow! taken about an hour to do 4 bars and still not right. Some people got it,most don’t I guess.


#2

I wrote a Waltz in my teens :+1:


#3

Yes. I mostly write paraphrases, which I don’t find especially difficult. Here is my sdc-approved Tetris :smiley: https://youtu.be/bN-lNuIGLZM

Most of such material is derived from improv, and as a compulsive improviser, the only real difficulties are making editorial decisions about which bits stay and which go, and of course, transcribing the end result.

I’ve written one large scale work (piano concerto currently only fully extant in solo form)… I’m a bit obsessed with it atm. I’ve been proofreading the sheets for the last fortnight and omg is it hard work, and I can’t believe how much I got wrong. As for orchestration, I clearly don’t know sheeyat. Doing anything beyond the basics seems really hard with my current level of knowledge.

A lot of the solo version I didn’t find too hard in terms of manipulating thematic material, but I had major writer’s block over the last movement and it took years to get it right.


#4

I’ve written a fair bit, most of it crap haha
Sort of attempted something of each genre (except vocal). 2 1/2 movs of a trio I quite like and a ‘classical’ symphony but it’s all fluff.

Orchestration I learnt from studying scores. There’s a good fb group about it. But a lot of what I read seems pointless to me - people posting will this flute be heard in this combination - certainly within reason it’s up to the conductor to balance if you want the flute to be heard…


#5

I’ve got the Walter Piston book, and watched quite a few orchestration vids on YT. I’m left with an overriding impression of how much I need to take in, and how little I know. I suspect one of the main issues is not being at all familiar with the capabilities and weaknesses of individual instruments.


#6

Isn’t that the case with everything? I still feel intimidated discussing music with my old teachers…

I learnt the other day that the trombone is incapable of playing a B below bass clef stave because of how the positions harmonic series works out. Shit like that makes me wonder how you’re supposed to learn everything. I guess Mahler had an orchestra to work with and was constantly trying things out.


#7

ahahahaha mannnnnn da MIKEY

u iz a legend on da 88

but u zeem to zuffah from a random ailment known az

REZPEC FO AUTHORITY :sunglasses:

rid yozelf of diz dizeazed mindzet n u vil be on yo way to greatnezz

:zenzei:


#8

0203_authoritah1


#9

Well, yes and no. There’s plenty stuff where I know what I’m doing - perhaps I could do it better, but I at least have a template to go from, and I know it works. With orchestration I’m not even at the template level.


#10

:ho:


#11

I can’t even write good arrangements of songs from old Hollywood musicals. I would like to be able to do that.


#12

I cumpose a bit, all zheeyat tru


#13

ahahah da TRUMOFO n da FEZTINBOB both already haff a pretty GENSUI n varied body of work

da COMME improz/cumpoz i wud alzo cunzidah a BIT legendary :comme:

n dun forget da FURIOUZ FARMAH :robbah: :japanese_goblin:

anyway da zepp wud lyk to include mo workz from da SDC mofoz on hiz next random rectal appearance :sunglasses:


#14

Haha da zepp shud compose a random etude tru!


#15

Tru, it goes very very slow!

Original works is way harder den transcriptions.


#16

Da tm mentality unleashed on an original compo would break all da boundaries tru.


#17

:ghey:


#18

Or not

:tm:


#19

#20

Yeah, diz iz a total clazzic! Maximum rezpek!