Message from @Authentic Human Programming
Discord ID: 602790586012925973
what about it
huh?
fuck you, may you and your children be cursed with impotence
already am bucko
life will get easier later in life friend
😦
ok shitposting aside polyphonic sound mass composition is fucking cool and i’m probably going to write more for it. i’ve only worked on a string quartet and part of a solo piano work but i may write one for chamber orchestra later on.
can you even spell polyphonic?
i just did
I... dont get it...
dont worry you will when i’m considered the arnold schoenberg of the 21st century 😎
here's some gay shit I wrote a while back https://soundcloud.com/dongs/string-quartet-movement-3
one of the songs on my next album
i dunno buddy, if you’re not releasing it in 24 bit lossless i aint interested
mp3? nah
those are for discord
8 mb limit
get discord nitro so you can post your music in DSD256
😎
not giving discord money
@Dong your harmonic progression is kinda janky and meandering. parts that aren't very interesting get repeated. also the rhythm alternates between being straight and jarring, it's never quite graceful enough to fit the implied harmonic connotation.
basically it sounds like you had a rhythmic idea and wrote some generic progression to go with it
timbre wise it's also really monotonous, you need dynamic and/or tempo shifts to make things interesting. unless you have a damn good harmony or melody you need things to sound expressive instead of robotic.
>basically it sounds like you had a rhythmic idea and wrote some generic progression to go with it
this is what I do a lot of the time , just come up with a rhythmic idea and then do voice leading around it
how can I transition better from straight to jarring? any good pieces that are an example of that?
it's not so much the straight to jarring that's the issue as it is the melody you've written around it that doesn't make sense
there needs to be some level of synergy between the two and that's missing here
also generally speaking for polyrhythms i wouldn't advise writing them for strings. they're not quite rhythmic enough for the rhythm to come across well. look into 60's minimalism for some ideas for what kinds of ensembles work well with rhythmic stuff.
yeah, I'm just working with vst instruments and basing what I do on the sound I get out of them
I realize it may not transfer well to actual playing
at least at that speed
yeah the real pain in the ass with writing music from a composer's POV is making it actually easy to play for the performer
nevermind getting your ideas on paper, making them performable can really suck
how do you write progressions?
there's multiple ways to do it but generally speaking you want a lead voice and then write your chords to complement it, either by harmonizing it or form some sort of counterpoint
if you want to just put chords down on paper, try to break it down into a SATB thing and look at how the soprano and bass sound alone, then add the alto and tenor and see if they actually work in tandem with the soprano and bass
i'm not entirely a good person to ask though because i'm not the most tonal composer in the world.
I kind of go with the soprano + bass and then fill in middle voices but not in a consistent way throughout
I'll change sometimes to letting the middle voices movement determine where the soprano voice goes