100 Members! Woohoo! Now let's try and get to 200...
POST SOME MEMES YALL.
HERE COME DAT BOI!!!!!!!!!
who has the saxophone ensemble <4 pictures from New York>?thank u !
i really need it!
Feel free to talk about anything here
as long as it's not offensive or racist
you can spam discussions if you want
This is a piece that I composed to sound pastoral(in other words, like the countryside). I used this sequence of modulations:
F major -> C major -> A minor -> Bb major -> C minor -> G minor -> Bb major -> F major
The first F major section is supposed to sound like the sun is rising. Then in the C major, A minor, and Bb major sections, it sounds relatively peaceful. But the Fate motive appearing in both the bassoon and the piano foreshadows the C minor section, and the last entry of the Fate motive being on a C minor chord makes it sound like I am directly borrowing from Beethoven's 5th. Once I get to the C minor section, there is a jolt, both in dynamics and in tempo. The tempo almost doubles and the dynamics become fortissimo. I also use a repeating progression twice in this section. Here it is:
i -> i6(first inversion tonic) -> i -> iv(with Ab in the melody giving a more dissonant tone) -> i -> i6 -> i -> vii°7 -> i
Now there were a lot of ways that I could have gone from C minor back to F major. Here are just a few:
- Circle of fifths, ending it on the subtonic dominant 7th in D minor
- Ending the progression at F minor and then going straight to F major via parallel modulation
- Ending the progression at C minor, then going to C major which leads to F major
- Ending the progression at B°7 and resolving it to C major, again leading to F major
I decided to start like the circle of fifths progression, going to G minor. From there I went to the mediant of G minor followed by a plagal motion to F major.
Once I got back to F major, I decided on having the flute play a melody to give us a sense that the drama of the C minor section is over. This melody, I accompanied in the bassoon. Later, when the melody comes back, I change the register to be down an octave and have it played by the bassoon. The flute harmonizes and embellishes it with a countermelody of its own. Towards the end, I have all 4 instruments playing simultaneously and there is a ritardando, going from the 120 BPM of the G minor and second Bb major sections to the 60 BPM at the end. In the third to last measure, the harp does a diatonic glissando. I intended for it to be diatonic to avoid much dissonance between the Bb major harmony and the glissando. In the measure after that the harp does a long trill and then it ends with arpeggios in the harp and block chords everywhere else. These last 3 measures are again fortissimo. But because there is no modulation or sudden tempo change, the fortissimo in those last 3 measures just sounds like a typical ending cadence and so even though mezzo forte and fortissimo have quite a noticeable difference in intensity and there is a busy texture in the mezzo forte before it, there isn't much of a noticeable dynamic jolt. The flute and bassoon move in contrary motion over the piano chords in the last 2 bars, both to an F but in different octaves.
I didn't compose this for your typical quartet. Instead I thought "Which instruments would go well with the countryside in terms of their sound?" Piano, Harp, and Flute were obvious ones. To help balance the woodwinds against the piano and harp, I decided on having a second woodwind instrument. I didn't go with the Oboe because it sounds pretty nasal in timbre compared to other woodwinds(would probably be a very good instrument though if I wanted to make a piece sound Scottish). Another instrument that I could have used is the Clarinet(which in the case of this piece would be a Bb clarinet). It sounds mellow like the flute. But I figured that I didn't need a more mellow sound, I needed some warmth to the sound. And I knew just which woodwind instrument would provide a warm quality to the piece. That would be the Bassoon, which is comparable to the cello because of its wide pitch range and warm tone.
What do you think of it? Here is the link:
We need help taking over musescore (because the RSA empire is too big)
the new edition
Hey there! I want to first start off by saying I absolutely love the new MuseScore Drumline Extension! It is amazing! One thing I have noticed, and think should possibly be adjusted sometime in the future, would be a better front ensemble update. I write for indoor drumline and I would love it if the front ensemble sounded a little bit more realistic. I understand that this is mainly a marching percussion update, however I think it would be amazing if things were changed up a bit. I'm sure a lot of other users would be happy too!
Marimba deadstrokes (hard / soft mallets?)
Suspended cymbals / chokes
Gong / gong roll
(Hard / soft mallets for battery?)
Various tribal drums
Loop wind chimes
More sound effects (wind, rain, thunder, etc.)
More synth settings
Anyway, that's all! Thanks so much! 💙
Hey, guys! I'm Pete-Michael Nwokedi! I am a front ensemble and winds writer and I am willing to write for your group if you need a concept! I write for front ensemble (including drumset, timpani, bass/electric guitar, and synths (even MalletStation)) and marching cymbals! I can also write pit for your marching band/pep band if need be.
Additionally, if you have an indoor winds group, I can also write for them!
If you need battery to be written as well, I also have a battery writer at my side! Contact me at firstname.lastname@example.org or respond to the comment/privately message me and I will be sure to respond as soon as possible!
Post epic memes and I will judge them
1=Not even a meme
10=The best meme I have seen
gee, it is not too early to think about Halloween, is it? After having heard many neat compositions of spooky music here at musescore, I thought, why not have a Halloween Music Contest. So submit your original fun spooky music for this contest to end appropriately on Oct 31. Can't wait to hear your compositions.
On Musescore 3 I'm wondering how to make the crescendo end before the end of the measure as the crescendo seems to only stay on the end of the measure and I cant make it end earlier
Hey, guys! I'm Pete-Michael Nwokedi! I am a front ensemble writer and I am willing to write for your group if you need a concept! I write for front ensemble (including drumset, timpani, bass/electric guitar, and synths (even MalletStation)) and marching cymbals! If you need battery to be written as well, I also have a battery writer at my side! Contact me at email@example.com and I'll respond as soon as possible!
- Pete-Michael Nwokedi
note to myself:
may 29, 2019 not profound or professional or profane nor even prodigious but probably profuse or prolific, even to being a bit profligate (but not promiscuous), and finally definitely pro-silly and pro-fun
First group i've made, Its for ALL THE THINGS, If you don't know where to put a new piece. Put it here. All other info is on the group page! Come and join!!!
How many of you are marching tomorrow for Memorial Day? I don’t expect many responses cus it’s really late here, but I’d like to know. What are you playing? Our marching band *was* going to play National Emblem as we marched, but we cancelled the parade because of rain, so we’re just playing the National Anthem and Stars and Stripes Forever at the ceremony.
(Also, I apologize if my activity is annoying to any of you. I’m excited to talk with people who are as enthusiastic about music and saxophones as I am.)
For those who don’t know Polyrhythm is the simultaneous use of two or more conflicting rhythms e.g. triplets at the same time as duplets
For me I can’t wait to be done my piano sonata but I also am excited to compose a concerto for piano and orchestra!