This is the final piece that would be heard as part of my Inheritance Cycle pieces of music, a series I am writing as if for a new series of Eragon films. This particular piece would be heard over the final credits, and incorporates a number of previously established themes, as well as the Ra'zac theme, which is a bit of a sneak-peek into what themes I'm working on next.
Find it here:
Also check out my MuseScore account to see Palancar Valley, which gets played in this as well
Hi, I am the new owner. I will be changing up the rules a bit so stay tuned. and adding to this. I will be appointing admins so if you are interested just PM me.
You might know me better by my second account... EthanHarris
I am a cello player of 5 years and I LOOOOVVVVEEEE music. I am obsessed and I recently have taken up music theory and composition as a hobby. I am also trying to teach myself guitar, Piano, and any other random instrument i stumble upon.
The mathematician Daniel Bump, who started this group over seven years ago, has made me an admin of it. I have been active in this group for over four years now, as a composer, arranger, and, increasingly importantly to me and others, a sharer of my many decades of experience with and knowledge of traditional counterpoint and contrapuntal music, both in tutorials and analyses published here (see “Tutorials” set in my profile) and score comments (often requested, and usually appreciated).
Dan has (understandably) not had time to follow and supervise this group over the last few years. I hope to monitor and maintain the discussion board, e.g., removing posts that are inappropriate (e.g., “please look at my work”, which can be achieved just by posting the work), spam, and widely-cross-posted work that bears no particular relevance to the group topic, and in so doing maximize the usefulness of the discussion board as a resource.
I have viewed this group as a place where people can post, as Dan says, works by masters of counterpoint such as Bach and Palestrina (although if the scores have errors and the person posting is not responsive to notice of them….), and your own contrapuntal compositions, as he said, even unfinished works, if you want comments by other musicians. If your works are mind-bogglingly terrific, they will speak for themselves. Otherwise, expect reactions by others of both great and little knowledge and experience. This is not an arena to collect applause, but, hopefully, a place to share and learn.
Counterpoint is not a “style” or “genre” like Reggae, Celtic Ballads, or Bebop Jazz (but even those have their parameters, means, and corpora), or even “Baroque”, but a discipline about which great books and papers and course have been and continue to be written (and I hope to maintain useful bibliographies and linkaries) and in which, although models and parameters vary over the last 500 years, (at any era) there are very definite “rules” and “right and wrong”, just as with the grammar of a language, the rules of artistic perspective, or classical rhetoric. Any work with more than one voice (and even some in one voice!) exhibits counterpoint, whether you intended it or not, which can thus be good or bad in reference the stylistic models of any era. “Hey, I used some counterpoint!” (as in several early Beatles songs) is not so interesting.
Fugue is an extraordinarily complicated business, with a vast literature, and an exercise traditionally undertaken only by those who have achieved significant skill in counterpoint. I will not say more about it right now.
There are (and hopefully will be) a number of regulars here with enough knowledge of, and skill in, this area to teach a course, including some who actually do (although employed teachers, performers, and scholars rarely have the time for this). We are a resource for those who wish to learn and have their efforts analyzed and commented on. For those not eager for honest commentary, just write, “No comments, please!” on your scores. This is not a venue for unconditional, assured applause (either for compositions, presentations of scores of repertoire, or arrangements) or emotional support. This is a score-posting group, not a social media chat room. Posts to the discussion board, including questions, should be considered by you with the question, “Will this be useful to others wishing to know more about counterpoint?” Inappropriate posts will be removed.
I hope that this group and forum will continue to be, and more and more become, a showcase of quality contrapuntal compositions by masters old and new, and resources and texts old and new, as well as a place where those eager to learn more about counterpoint will feel both welcome and able to do so.
Bernard Greenberg (@BSG) 10 May 2019
Adventure Awaits- Ben Stanbridge
Hey everyone hope you are having an amazing day, I was wondering if you guys could listen up to my work in progress and leave some feedback as I continue to work on it and finish it up!
This group has been around for a while, but seems to be quite dead... I've recently taken it over, and would love to have it active again!
So, if you are an active or new member, please leave a comment below to let me know you're even here.
Anybody else grow up on these great games? The gameplay in Croc 1 was lacking, but the music was stellar - better/catchier than most games I've played since. What I shlapped together is a medley of 5 tunes from the game. Anyway, Croc came out in 1997 so I don't expect many people to know of it. Well have a great day!
I have searched everywhere in musescore, but I can only find giant steps and Mr. PC, but the solo isn't in pieces. Does anyone know books or other media to use?
For this challenge, you would have to compose variation(s) to a given theme -->
More information could be found on the score's description
Do comment below if you're participating!
Does anyone know of some way to study counterpoint in a more understandable and approachable fashion, aside from studying Bach's scores which I already do for fun.
Not sure if there's a level beyond virtuoso, but I think this end of this piece (and some of the runs in the middle) would require it
I just arranged the TV version of Attack on Titan's OP3. Please give it a listen and let me know what you think!
I posted this score I transcribed on here a couple of months ago and it's definitely my favorite piece of work, unfortunately it didn't get very many views as I'd hoped and absolutely no feedback so I'd love to hear what you guys have to say on this.