News from Jazzlike-Surprise799

  1. The lowest note is an A played on the E string.

  2. Is there any reason to do this over just putting a unison with two notes next to eachother? That's how I've always seen that.

  3. You could start by listening a bunch of music for solo alto sax. You don't have very long so I would honestly do that like today. There definitely isn't as much written for solo sax as like solo violin, but there's some. There's a berio sequenza for alto sax and I know kati agocs has a piece for solo alto sax. Have some paper handy and take notes about stuff that gives you ideas.

  4. You should honestly spend like a week just absorbing all the solo cello music you can. Write down what you listen to and any specific moments that give you ideas. I'll throw a recommendation in for Spins and Spells by Kaija Saariaho. Not on imslp but I'm p sure there's a score follower video. This is relevant especially if you're actually trying to write a solo cello piece (as opposed to cello and piano).

  5. Lydian is a very unstable mode. Trying playing anything in Lydian and then play the V chord. Now youre not in Lydian. A lot of songs will temporarily be in Lydian, but not for very long.

  6. It's written as different keys, but they sound the same. Clarinet, for example, is a transposing instrument. It's written in Bb, which means that if you play a "C" note, the actual sound is Bb.

  7. I have to say my experience has been alot more positive. I've actually been constantly surprised by how many people have been interested in my music. I don't want to argue with your thesis too much other than to say it doesn't reflect my experience. So here's my slightly more optimistic account:

  8. You're talking about that classic thing where one guitar player plays a lead line in octaves and the other plays powerchords right? If so you probably don't really want to avoid following the chords per se, just the root. So just write lines that seldom or never touch the root. The powerchords have the root and the 5th, so you're really looking to highlight the thirds. But the fact that they're not already there means you also have alot of lee-way with suspensions that you wouldn't have when writing a melody over a major or minor chord.

  9. *Lili Boulanger, not her sister Nadia. As far as I know Nadia wasn’t a composer? Lili is fantastic despite her short life.

  10. Nadia gave up composing (I think sometime in her 20's?) but not before attempting the prix de rome like 3 or 4 times and writing alot of art songs, which are most of what I've heard from her.

  11. It’s not anything specifically that is giving me trouble. Just the general aversion to practicing anything that is difficult for me.

  12. The answer to that I'm afraid is probably just simple discipline. You gotta be able to make yourself do hard things when you don't want to. There are ways to make certain things more fun but I've found it kinda always comes back to push yourself through difficult sections when you don't want to write. Definitely never easy, I think we all still struggle with it every day, but trying to consciously develop your self-discipline seems like the move here.

  13. When I felt like this I think it was because I needed to improve my understanding of form. It's not that one ought to write in established forms, it's just that starting there gives you a convenient way to move the piece forward, and subverting and playing with the expectations of form can be really fun. Like someone else alluded to having a program, even if it's hidden, can be a pretty fun and effective way to generate ideas. And as always, score study. I know that's probably not what you meant when you said "practice" but if you're having trouble developing melodies, getting deeply familiar with how others did it is probably the most substantive way to fix that.

  14. If you have anywhere near the money for the degree it might be better to spend it on one or several private teachers. Many very respected professors teach private lessons outside of the school anyway.

  15. Players will intuitively let the E ring out, generally, but you might want to specify legato. You can even keep it attached and make the note head a half note, I've seen that done - though it does look a little odd.

  16. Thank you for the advice! I'm going to put a legato over that E as per your suggestion. I was thinking of having the first finger on the A string on the 9th fret like just a standard dominant 7 barre chord but muting the high e. I just realized that's somehow both an overused voicing and unintuitive because of how high up it is lmao. I think I'll change it to something cooler. Thanks for taking the time to look at this!

  17. 2. Rasgueado to tremolo is technique wise relatively easy because after playing it, all the fingers are already prepared for tremolo. The difficulty is playing an agressive technique and then having enough control to continue with a technique that requires a lot of finesse.

  18. Thank you so much! Sorry the image didn't attach originally for some reason. This is what I had written and I think it pretty much conforms to what you said although the score of asturias I found didn't have the arrow on the wavy line. Thanks for the advice.

  19. iim7b5-I and iv-I I think have been mentioned, they're pretty much the same thing and they definitely work. Tritone substitution also, so bII7-I (idk if it's proper to express it like that but that's always kinda how I thought about it, just paying attention to the voice leading of the tritone). I'll also go out on a limb and say that establishing a pedal point can allow for a kind of non-cadential tonicization where, even if the tonality isn't neccesarly clear, the root is firmly established.

  20. There's definitely a way more thorough and nuanced answer but truly, late romantic symphonies.

  21. I have not listened to late romantic a lot

  22. Yeah pretty much everyone that other people recommend falls under that category with a few exceptions. Fs check out like Mahler and Holst and like Tchaikovsky if you haven't.

  23. In a very oversimplified answer, you're looking to highlight chord tones while connecting them with a pleasing like of non chord tones. So how do you make sure to be "thinking about harmony"? Play notes that are in the chord they're over and pay attention to the different emotions you get from playing the root vs the 3rd vs the 5th. People might kind of disagree with this answer, but I think starting with an oversimplified view is maybe more efficient in the long run, that's how it worked out for me. Another thing I recommend if you're starting with chords is to play the chords and just hum or sing over them until you hit upon something you like. If you're a beginner, the melodies you naturally come up with probably fit quite well with the analytical approach I described earlier. Overall, bringing your ear into the process early and learning how to really see the relationship between notes on the page and what you hear in your head is really important.

  24. I mean if you're into treating music like a science you gotta check out Milton Babbitt and other research music type stuff. Not for everyone but worth checking out, there's some cool stuff there.

  25. Consolation of Rain by David Bruce plays with alot of quasi-programatic ideas of rain. That piece isn't all that far off stylistically from impressionism that the ideas wouldn't fit. Anyway, I've found that a really not rigid programmatic approach is a good way to generate ideas. Consolation of Rain might be helpful inspiration, I know it was for me.

  26. You might like Carter Pann's music, Viet Cuong too, I think he was already mentioned. Michael Gandolfi and Kati Agocs both write alot of tonal music too. Definitely listen to Pann's alto sax sonata, super accessible while also being extremely unique and creative imo.

  27. Worth checking out how to walk jazz bass lines. Maybe not the exact style you're looking for but I imagine you would find some useful techniques there to spice it up. I would say just start by playing chord tones on 1 and 3 and get jiggy with it on 2 and 4. And by get jiggy with it I mean play non chord tones.

  28. Got the same email about the Tufts dual degree a few days ago and was also confused lol

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