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general recent conversations

The Auditorium

A place to share music as you write it and other stuff like that.

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Feb 10, 2024 20:08

@Aaron My hero! Thank you so much!! Until next time my friend

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Feb 3, 2024 21:26

Thats not a problem @Aaron--good-busy, I hope! I'll check back in later this week

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Feb 3, 2024 19:45

@Aaron Happy Saturday! Just wanted to see if you've had some time to consider my follow up questions? No rush--just excited to hear your thoughts!

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Jan 30, 2024 16:21

@Aaron Abracadabra...Alaka...friendlyreminder...ZAM!

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Jan 27, 2024 23:17

@Aaron Thank you again and as always @aaron! looking forward to hearing more from you. In the meantime, i’ve got revisions to make!

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Jan 27, 2024 23:16

@Aaron 1) Just curious—when you say that the composition isn’t intended to support that level of dissonance, is the implication that the music hasn’t been strategically composed such that the dissonance is welcome in the broader harmonic progression, or do you simply mean that this level of dissonance isn’t present elsewhere in the section and therefore draws attention to itself in a jarring way?

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Jan 27, 2024 23:16

@Aaron When I copy-and-pasted the tenor part into the Alto staff, Musescore transposed the notes down an octave; Am I supposed to correct that by shifting the pitches back up to where they previously were? One of the notes was highlighted red, indicating that it was outside (below, in this case) the Alto’s range. I guess the bigger questionis: are we focusing on technically correct registers for procedural reasons, or is timbre of one voice being better suited for a particular part?

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Jan 27, 2024 23:14

@Aaron 1) When you say “replacing the alto B”, are you referring to the B on beat 3.5 (which skips to the F) or the B on beat 1 (tied from previous measure)? If the former, how would changing it address the doubled leading tone issue (and vice versa, if referring to the latter)? Just wondering how/why it’s possible in this case to kill two birds with one stone.

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Jan 27, 2024 23:14

@Aaron 2) I’m delightfully surprised that you observed this as I hadn’t even noticed it. If I may, what principle underlies this “undermining” action/relationship? Isn’t the passing off of musical fragments between voices something that we see in Beethoven, for example?

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Jan 27, 2024 23:13

First of all @aaron, I want to say thank you so much. Your intuitions are so strong (providing many “of course!” moments). I really appreciate your insights. Seriously, thank you for taking the time to share your thoughts and criticisms with me.
If you don’t mind, i’d like to ask some follow up questions—i’ll add them as replies, numbering the questions to correspond with the respective numbered comments you provided.

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Jan 26, 2024 15:12

Hi @Aaron, here's a friendly reminder. Thank you!

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Jan 24, 2024 20:53

@Aaron I hear you--no pressure. Thank you!

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Jan 24, 2024 17:42

@Aaron and @000 please let me know if there are any other materials I can provide or if I can answer any questions. Thank you!

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Jan 20, 2024 04:40

@Aaron im glad you approve! And that's great food for thought. something for me to keep in mind as the journey unfolds

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Jan 20, 2024 03:25

@Aaron thank you! it goes without saying that i'm only familiar with treble and bass clefs. Here's an update: imgur.com/a/Y4QNhxp

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Jan 20, 2024 01:37

@000 of course. Here you go: imgur.com/a/4yEnjbg

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Jan 19, 2024 00:30

@Aaron Thank you so much for this update! I really appreciate it, and I look forward to hearing from you.

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Jan 17, 2024 16:48

I hope this message finds you well. I initially posted this in the practice room for discussion, but it seems to have gone unnoticed. At Aaron's suggestion, I am posting here so that I can receive your collaborative feedback.

I'm currently working on an SATB-style composition and, while I the parts essentially work, I feel stuck trying to refine the music. I’d really appreciate hearing from you so that I might be able to push the composition to a point where i’m satisfied.

Image of the music to refer to for this question: https://imgur.com/a/lH8VfT3

The Practice Room

General discussion for music.stackexchange.com

286642

Jan 13, 2024 21:54

Hi everyone,

I hope this message finds you well. I'm currently working on an SATB-style composition and, while I the parts essentially work, I feel stuck trying to improve the music. I’d really appreciate hearing from the knowledgeable members of this forum so that I might be able to push the composition to a point where i’m satisfied.

(Note: I don’t really know if the general discussion room is an ideal place for this; please let me know if somewhere else would be better)

Image of the music to refer to for this question: https://imgur.com/a/lH8VfT3

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Jun 19, 2023 21:54

Hi! I'm a longtime MuseScore user exploring alternative notation programs (they don't have to be free). Do any of these programs offer recommended voicings for harmonies? I'm looking for a feature that analyzes the harmony and suggests suitable voicings based on specific criteria. If such a tool exists, please let me know which notation programs provide this feature.

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Sep 29, 2021 14:58

Thank you very much @Aaron. I find your changes do make the progression more fluid. Two follow-up questions (just for my own curiosity): 1) why change the Dmin (over C) to a Dmin7 (over A)? I'm specifically wondering about the change to the 7th chord; and 2) In your opinion, is the fact that the bass notes are held for different durations (ex. the C major chord is sounded once, but then the G/B and Cmaj7/B sounds the B note twice), an area of concern?

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Sep 28, 2021 16:20

I hope this is the right place to be for this sort of discussion--I figured this was too broad of a request for the main site

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Sep 28, 2021 16:19

I believe that the root movements are all strong, but im not sure of my use of the 7th chords as well as the I64 chord towards the end. any thoughts?

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Sep 28, 2021 16:18

Hi everyone--I wrote this progression (above) that I like, but I want to make sure it's air tight before moving on. Can you please help me improve it?

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Sep 28, 2021 16:17

Voice leading workshop

Please offer suggestions for how I might improve the voice lea...

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Jul 6, 2021 04:26

got it. thanks so much, @Aaron!

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Jul 5, 2021 20:58

I really appreciate that. would you try to keep motion in the bass step-wise as well? I understand that leaps are more welcome in the bass line. How do you view root position chords vs inversions? Do you think it's a technical decision or a stylistic one?

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Jul 5, 2021 18:05

Can I just ask: what was your approach to this? Was there a preeminent type of change you had to make/a preeminent pitfall I found myself in? I think the biggest lesson I learned through this was that I shouldn't be afraid to change the harmonies, and I shouldn't confine myself to only using chord tones.

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Jul 5, 2021 18:03

Thanks so much for the valuable suggestions/edits, @Aaron! I think I will take it from here.

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Jul 5, 2021 01:11

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Jul 5, 2021 01:11

I'm getting closer to something more structured--please have a look. Not sure what to do about the D in the soprano clashing with the E in the bass (ms. 6, 8, 10) during that recurring phrase i'm calling the motif.

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Jul 4, 2021 16:59

great point. aside from the first two measures, the soprano line should still be within the typical range if I shift it up an octave. I don't mind doing that at all

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Jul 4, 2021 15:27

That sounds great

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Jul 3, 2021 15:10

@Aaron Required, please

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Jul 3, 2021 06:15

Soprano (it's a reduction of the actual melody)

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Jul 3, 2021 02:53

Thanks you by the way for the heads up regarding the parallel octaves and cross relation

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Jul 3, 2021 02:52

They’re just descriptive. Though the current harmony does work with the melody I’ve written, and I wasn’t necessarily planning to change them. But please do go ahead—id love to see what you come up with.

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Jul 2, 2021 23:32

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Jul 2, 2021 23:31

Please refer to my progression in the attached image. I know the lines themselves might not be too interesting or strong, but, for the time being, I just want to make sure that the chords are well-voiced. In particular, I would like to know if there is anything that I should be aware of when working with the accidentals that occur as part of the modulation to and from C major. For example, I know that (in some cases) it is best to keep chromatic progressions in a single voice to avoid cross relations.

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Jul 2, 2021 23:29

room topic changed to Voice leading workshop: Please offer suggestions for how I might improve the voice leading of my passage in 4 voices. (no tags)