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Getting stuck figuring out a countermelody

As you can probably tell, I have a main melody and I want to add a countermelody. And, though it isn't explicitly said in the title, I also have a bass line. Here is my melody(Key of the melody is in D major but the piece it is in is in G major, thus the 1 sharp key signature):



And here is the bass line I have going with the melody:



As you can see, I have the piano part in full chords and the cello playing just the roots of those chords.

Here it is together with the melody. Full instrumentation of the piece is shown.



As you can see, I have the melody in the first violin and with good reason. Outside of solos, the only instruments in a piano quintet expected to go into the third octave(which the melody does) are the piano and first violin. The violist or second violinst might do it, if the section is a solo. That isn't the case here. But if you listen to this melody and bass by itself, it sounds bare. And while I could theoretically make a canon out of this melody to make it sound less bare, the results of that are to put it lightly, displeasing. I tried transpositions by both interval and time and just couldn't find the perfect one. All the ones I found had dissonant strong beats which defeats the purpose of turning the melody into a canon in the first place.

So canon is out the window. I could turn this into a fugato, but then where is the subject? Is it the first 5 bars? Is it the whole 20 bars? How does a whole note work as part of a countersubject? So fugue is basically out the window as well. This leaves me with only 1 contrapuntal solution left. Countermelody. Sure, fugues have countermelodies. But there is an inherent structure to the fugue which is similar to sonata form. If I just try to write a countermelody, there is no inherent structure. The structure depends on the melody, and sometimes, it might be non-existent. You can see looking at the picture of the score here that I have up to 2 octaves of space for a countermelody.

But I am stuck as to how to go about writing this countermelody. I know rhythm is part of it. But, given how slow the melodic and harmonic rhythm is already, I don't think rhythm is quite the importance as it would be if say the tempo was fast and involved 16th notes. The tempo here is moderate and the fastest notes are eighth notes. The fact that the fastest notes are eighth notes means that I probably shouldn't go any faster than eighth notes in my countermelody/countermelodies. But is there an easier way than just trial and error to find out what countermelodies work both harmonically and melodically? I am thinking of starting the countermelody(first countermelody if I end up wanting more than 1 countermelody) at bars 5-10 of this section of my piece.

There are a ton of different melodies I could try using as a countermelody here. Some would be going fast enough that they would sound like the main melody, even though that isn't my intention. Others would barely be a melody. Still more would require that I change my bass to fit it. And others might not work at all, even with a change to the bass.

You Tube Audio scores -- bottom 400 pixels getting cut off

https://musescore.com/user/28728657/scores/5618597 for example (select YouTube source or this doesn't happen). Playing any score with a YouTube audio source (not video) leaves a grey box at the bottom of the score, obliterating what should be there.  This has been going on for about a week; I had hoped it would get fixed, but ...  That's Firefox 67.0.2, Mac Mojave.10.4.5.

CCC#2 - "The Wanderer"

 CCC#2 is here!

Based on the results of the survey I sent out on Friday 7th June, it occurred to me that several of the themes which I suggested, and asked you to vote on, would in fact fit quite nicely together. Therefore, for this second competition, I have found another painting by Caspar David Friedrich, since the response for “The Watzmann” was very good. I am also going to give a genre of music (as wide as possible, but still something to go on) and a short story available in the file below.

If you would like to help judge the competition, or have any other queries, please message on Musescore, or via discord @jte#9811


Details of the competition:

- The deadline will be in 4 weeks time (Saturday 29th June)

- The genre, as chosen by the survey will be “Film Music”. This is deliberately a very wide genre in order to give the contestants freedom of creativity. There will be an award for the most original take on the task, as with the first competition. 
Obviously this theme can be interpreted to fit your desires.

- The painting (shown below) and the story are both in the google docs file. If you have any issues accessing this file, please don’t hesitate to contact me. I will be happy to help.



Rules:

- Your work must be completely original/all your own work.

- Be nice when critiquing other people’s work. Constructive criticism is fine, but don’t be rude. If you do, you will be disqualified from the competition and banned from the group.

- All pieces and comments must be appropriate.

Please let me know if you’re planning on taking part. I’d like to have an idea of who might be competing.  

Thanks,
- Joe

Story:
https://docs.google.com/document/d/1uWsaQDDFUsNS4p-FO_7p91Lh8q0JiaO9Q-tSJvfPvLM/edit?usp=sharing

New Piano Roll Feature on the musescore.com

Today marks the release of MuseScore Piano Roll. Piano Roll is a popular and convenient method to display piano notation in a way that not only simplifies learning a new piece for novice musicians who lack a teacher, it also beautifully visualizes each score.


(Video captured from https://musescore.com/classicman/scores/33715 )

Give it a try by simply clicking on the Piano Roll icon now available on all solo piano scores. Be sure to tell us what you think in Improving MuseScore.com!



All of these improvements are designed to not only make MuseScore.com the most valuable resource online for sharing and discovering great musical works but for learning them as well.

We hope you’ll be as excited about this new feature as we were to create it for you, and as always we look forward to your feedback.

This is just the first of an exciting series of updates and releases for MuseScore PianoRoll; we're already hard at work on improving the experience!

Who needs "rules"? What's this nonsense about "rules"? I'm a drifter born to walk the road!

This my take, and what I do when I write music, and how I judge others' music. Your mileage may vary.  Comments welcome.

“I don’t want to sound like Bach or Mozart — rules are for fools and drones with no imagination! I’m a rebel, like Joyce, Stravinsky, and Picasso!”

Who likes or needs “rules”? Who wants to be told where they can or can’t talk, use their cell phone, eat, or park for free? What is this nonsense about books full of “rules” for music, saying you “can’t” use two successive fifths, or sevenths not followed by the note below? Or that fugues “have to have” “expositions” and “episodes” and follow “rules’ preached by other books about what their notes are “allowed” to do?  Are music lovers so arrogant and condescending that they listen to music trying to play “gotcha” when notes don’t do what some damned music professor said they ought to, and laugh and reject that music? Or is this a scam to ensure salaries for “music teachers” who are paid for putting red “X”s on people’s scores? 

And didn’t tremendous artists like Schoenberg, Jackson Pollock and Allen Ginsberg become famous by “breaking rules” (as did Bach, Beethoven, and Mozart)? I never saw a music-police wagon pull up and arrest somebody for “breaking the rules”…. 
 
I see scores here every day, usually attempted complex contrapuntal forms such as fugues and canons, with “I know, I didn’t follow the rules! Sorry!” as a (lame) excuse for why they (almost invariably) sound amateurish, dissonant, and disjoint.

In the past, before the internet and easy-to-use, free score editors, musically sensitive people who went to concerts or church or listened to the vanished thing called “classical radio” would there hear great music of the past. The industrious among us might try to learn more about it by buying “phonograph records” (which, once invested in, had to be listened to many times to justify the acquisition), and scores, ditto, and perhaps trying to play the music they heard on a piano or simpler keyboard,. And maybe we might even buy some music paper, and pencils with erasers, and try to write some new music, and eventually arrive at the conclusion that this stuff was pretty complicated: as with stage magicians, the fact that serious music looks “simple" when done correctly is the very fruit of the art — if you do not learn how to be a magician-musician, the result on stage will be sad and transparent failure.

If you were lucky, you might have been near a good library (mine was almost an hour away) with a good section on music-theory books, or perhaps knew a professional musician, student, or teacher, who could explain how to write music that sounds, to whatever degree, like the music you heard and wanted to emulate. And you would learn that there are indeed methods, abstractions, technologies, and yes, “rules” (many of which differed from century to century and place to place) which causes the music of historical composers to sound the way it does, not like “old music”, but like well-written prose or a well-painted picture, where the parts contribute to the whole, each sentence expresses a logical idea, questions that are raised are answered, and there is no spattered paint or typos all over the piece.  That, not genius or matchless inspiration, is why their music sounds like classical music instead of the uninformed tinkering of beginners. But it is utterly possible to inform yourself, and, with care and diligence, move beyond being a beginner.

If you are a native English (for example, it’s true in any language) speaker, you don’t say “I write my sanata yesterday with C major”, because it’s not English. Any native English speaker knows that, and although we understand it, we use and prefer (reasonably) proper spelling and grammar. Grammar is not a scam to pay teachers; people who speak English (or French, Russian, Arabic, or Japanese) competently not only speak in credible grammar, but best understand and appreciate correct utterances in their respective languages. The same is true of classical music — if you want your creations to be understood with ears accustomed to the form, texture, gestural vocabulary, and overall idiom of that extremely broad genre, you must “do the same thing”, “speak in that language”, i.e., follow the same rules. Failure to do so will prevent your work from sounding like competent classical music.

These “rules” were devised by musician-composers skilled in teaching, in order to codify and transmit, to their pupils, and to us, what they knew about writing music, so that they and we could do it, too, and express our own creativity. The rules of tonal music are not a strait-jacket, but a power tool.

As with every other art, those who “broke the rules”, such as Picasso, Joyce, and Stravinsky, were fully competent in the traditions of their arts before creating iconoclastic work.

"Your mileage may vary."

Help :(

 
Nobody responded when I posted this so I'm going to delete that one and post it again:

A week or two ago I asked about this. When I use the Nice Keys or Touhou soundfont and upload a score with that audio, when you listen through, repeats don't work. Here's some examples in my scores:
 
https://musescore.com/mkmusic123/scores/5613257


https://musescore.com/mkmusic123/scores/5613610


Here's one where I uploaded with and without the soundfont.
With (Broken):
 
https://musescore.com/mkmusic123/scores/5614426

Without (Not broken):
 
https://musescore.com/mkmusic123/scores/5614422


Please help! :(