please tell me what you think
G'day Christian,
For me it works.
But I'm probably not the best person to advise you May I suggest you look at the NG? Dr. Zorba regularly posts Fugues from JSB and I consider him quite an authority on this form...
the thought of atempting to match bach makes me wimper inside
You know "Cool" from West Side Story (Leonard Bernstein) is a fugue. Not to take anything away from JS Bach, but personally I would rather listen to a jazzy fugue than a dirgey ( yeah, not a word, I know) one. The style is certainly worth delving into, but while there are certain things intrinsic to a fugue, it is not as limited ( or strict) in form as usually comes to mind. Almost anything Bach is quite formal and strict to its type, but certainly any genere, wether classical, jazz, or hip-hop can fugue. (I think!)
I've listened, Christian, and I liked what I heard. Thank you for posting the composition.
If you want to make the beamed groups that combine triplets and non-triplets a little easier to read, you can fake it with layers, like so:
Instead of this:
!NoteWorthyComposerClip(2.0,Single)
|Bar
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Down,Beam=End
|Note|Dur:16th,Triplet=First|Pos:4|Opts:Stem=Down,Beam=First
|Note|Dur:16th,Triplet|Pos:5|Opts:Stem=Down,Beam
|Note|Dur:16th,Triplet=End|Pos:4|Opts:Stem=Down,Beam
|Note|Dur:16th|Pos:5|Opts:Stem=Down,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Down,Beam=End
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam=End
|Bar
!NoteWorthyComposerClip-End
the top staff becomes
!NoteWorthyComposerClip(2.0,Single)
|Bar
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Down,Beam=End
|Note|Dur:16th,Triplet=First|Pos:4|Opts:Stem=Down,StemLength=8,Beam=First
|Note|Dur:16th,Triplet|Pos:5|Opts:Stem=Down,Beam
|Note|Dur:16th,Triplet=End|Pos:4|Opts:Stem=Down,StemLength=8,Beam=End
|Note|Dur:16th|Pos:5|Opts:Stem=Down,StemLength=9,Beam=First
|Note|Dur:16th|Pos:3|Opts:Stem=Down,Beam=End
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam=End
|Bar
!NoteWorthyComposerClip-End
and with the bottom staff as
!NoteWorthyComposerClip(2.0,Single)
|Bar
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam
|Note|Dur:16th|Pos:3|Opts:Stem=Down,Beam=End
|Note|Dur:8th|Pos:4|Opts:Stem=Down,StemLength=8,Beam=First,Muted
|Note|Dur:8th|Pos:3|Opts:Stem=Down,Beam=End,XNoteSpace=2,Muted
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam=End
|Bar
!NoteWorthyComposerClip-End
you get a broken beamed grouping.
David: You can't use XNoteSpace this way. The notes won't align vertically when justified. Add Force System Break to the last barline to see what happens. Instead use:
!NoteWorthyComposerClip(2.0,Single)
|Bar
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First,Muted
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam,Muted
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam,Muted
|Note|Dur:16th|Pos:3|Opts:Stem=Down,Beam=End,Muted
|Note|Dur:8th|Pos:4|Opts:Stem=Down,StemLength=8,Beam=First,Muted
|Note|Dur:16th|Pos:5|Opts:Stem=Down,Beam,Muted
|Note|Dur:16th|Pos:3|Opts:Stem=Down,StemLength=7,Beam=End,Muted
|Note|Dur:8th,Dotted|Pos:6|Opts:Stem=Down,Beam=First,Muted
|Note|Dur:16th|Pos:4|Opts:Stem=Down,Beam=End,Muted
|Bar
!NoteWorthyComposerClip-End
as the second staff.
Your way beats mine, Rick. Nicely done.
In my defence, mine does work as long as you don't use a forced system break until you are at the last bar of the song.
well this is certainly more baroque sounding, i don't know if i'd call it dirgy
(p.s, it's not really finished yet)
Christian, after re-reading my post I realize that I came off rather badly. I don't mean to be discouraging. I must say that I rather like your 3rd part. The back melody is much easier to follow while the other ornamentation adds interest. I can get my head around it so to speak. My first thoughts on the first part is that it seems muddy which may be a function of the instrumentation, or the main melody may be too nebulous, or there simply may be too much going on or it might just be me. It seems to me a bit difficult to follow. We all have our likes and dislikes. I am partial to a good melody over intricate (or baroquie?) intertwinings of parts, (not that Baroque music can't be melodic), where someone else may be more attracted by harmonies, good lyrics, beat or textural complexity. All music is rendered good or bad by opinion so it is good to ask the opinion of others and hopefully they will be honest in their estimations. I think that a study of the fugue can be very fruitful to the composer of any type of music. Keep up the good work! In my opinion you have improved greatly already.
ah well there's the problem, i love baroque-like (baroquey? Baroquesk? baroquik maybe?) melodic interaction and its what i was aiming for. personally i think the as yet incomplete and unnamed 3 part piece is better both melodically and interactively than the 4 part one posted earlier, but good melody is something i've never really been good at, unfortunately.
here's another song, counterpoint was driving me insane
p.s i wrote this on a yahmaha sound font, so sorry if the insturment choice sounds a bit off
Hey Christian, I like it! The melody sticks and the percussion adds a nice dimension. They go well together. Nice work. -
I listened to it on one, so it sounds just fine.
BTW I concur with fitzclan
maybe something simpler?
p.s the guitar should be assinged a quieter dynamic if your listening with a standard soundfont
i hope this doesn't sound too much like pachelbel's cannon
p.s again, it sounds best on yahmaha
You may want to put the instrument names in. Also, you may want to add information, such as who wrote the piece (I should hope you!) and such.
The first 3 notes do sound like Pachelbel's canon. :-) The rest doesn't.
Although the Right Hand part is probably just as boring as the cello part in Pachelbel's canon. :-)
http://www.youtube.com/watch?v=JdxkVQy7QLM
that video was hilarious, thank you. and yes i wrote (and am still wirting) that piece. but i am somewhat at aloss as to what i should label the parts, they are almost all synths.
Concur - very funny indeed :)
umm maybe:
Synth 1
Synth 2
Synth 3
Synth 4
...
;)
how is this?
Another thing, what should i call it?
I liked the original name-Canon Rip-Off. ;-)
Also, you should probably label the percussion instruments. If I were you, I would make a "sight-only" percussion part that would be displayed, and hide the one that you currently have.
Here's some reference:
!NoteWorthyComposerClip(2.0,Single)
|Text|Text:"Snare Drum"|Font:StaffLyric|Pos:1|Wide:Y
|Note|Dur:4th|Pos:1|Opts:Stem=Up
|Bar
|Text|Text:"Bass Drum"|Font:StaffLyric|Pos:-3|Wide:Y
|Note|Dur:4th|Pos:-3|Opts:Stem=Down
|Bar
|Note|Dur:Half|Pos:-5X|Opts:Stem=Down
|Note|Dur:4th|Pos:-5x|Opts:Stem=Down
|Text|Text:"Cymbal"|Font:StaffLyric|Pos:-6|Wide:Y
!NoteWorthyComposerClip-End
well, it's (more or less) done
a sight only drum part would be useful, except i've disliked every drummer that i've met in person so i wish to make life hard for them.
Wanting to punish percussionists (we're used to it, don't worry) is one thing, but having a part that's virtually unplayable is another!
I won't take any offense at your comment. Having an unlabeled part and a MIDI file is most likely better than having an 1000-measure rest. (Haven't come across many of those, but there must be some.)
Once upon a time they used to have musicians and a drummer playing
live.
hmm, i guess i really must label the drums then, thing is, i don't actually know the names of the ones i used.
Maybe something original like Steve,Ringo or even Buddy, sort of in memory of.
Beethoven, Symphony Nr.9 - Trombones I & II enter in m.603...of mvmt.IV - that's a lot of "resting"...
Hey Christian,
Nice work. I was playing around with the Cannon and found that by moving the notes up from D in the original left hand piano part, to B, you will still keep in harmony while taking away the Pachelbel sound to the piece. Also I have noticed that you seldom use time signatures, even in your finished pieces on the Scripto. Any special reason for that?
i'm lazy, but i thought i had at least put a C time signature on the ones i put on the scripto. i guess i'll take a look
any thoughts?
Just a few observations if I may: Rather than a trio you have the viola and cello accompaning the violin. Also the viola is asked to do impossible things such as play below its lowest open string (2nd space C on bass clef) and hold a triad for an entire measure. Even a major 2nd is quite difficult to reach and play in tune unless one of the notes is an open string. When more than two strings are played in the same chord, the chord will be rolled; i.e. the bottom and middle notes would be grace notes while only the top two notes would be sustained.
It had a good melody and I'm looking forwards to the revision.
this is why i stick with synths, i only remember the ranges and transpositions of about a third of the orchestreal insturments