Top Groups


781 discussions • 8.8K scores • 54.9K members


RSA Contest 4 - "Inspirational" Challenge

Alright, so I've been seeing that the activity in this group has been going down - so I wanted to introduce something to help spice things up!

It has in fact been 3 months since the last contest, the I N T E R E S T I N G challenge, was introduced, so it's about time we do our 4th contest!
(mnmwert will still get his full month with the congratulatory group banner and links to his profile/music in the description as he was promised, though, so the winner will be announced on or after July 19th).

So! A brief introduction to what this challenge will be about: so you know those really popular New Age piano solos (and sometimes epic orchestral pieces) floating around everywhere - the ones that are usually captioned as "epic", "beautiful", "inspirational", etc. Though they are indeed very beautiful, something I've begun to gripe about is that probably way too many of them tend to have the same chord progression, vi-IV-I-V, throughout the entire piece. Some examples include: River Flows in You by Yiruma, Nuvole Bianche by Einaudi, and My World by Florian Bur. They're all beautiful piano pieces in my opinion, buuut the chord progression used all the way through these pieces isn't very original at all :P

I've thought for a while now that I should make one of these cliche "inspirational" piano pieces just for the sake of making fun of them - similar to what I did with my 3-note song in making fun of pop. I feel like it's a fun twist as well, since now, instead of making fun of a genre that I don't like or listen to, and is made fun of by stereotypical "music snobs", I'm making fun of the very genre I listen to, enjoy and compose in on a regular basis. And I thought, wouldn't this be fun for the rest of RSA to try this too? Soooooo.....

The task!
You are to compose a two-minute piano solo that uses the chord progression vi-IV-I-V throughout its entirety. Pretty simple :P After this challenge, I'll probably even upload my own go at this challenge and link the contest and everyone's submissions in its description :P

1. You MUST use vi-IV-I-V, and ONLY vi-IV-I-V. You may not substitute any chords; it has to be those four repeating over and over. The only exception is that you can end the piece on a chord other than V :P

2. You MUST write a piano solo. Just trying to put a limit on the instrumentation this time so we can see how everyone does when working with the same instrument (and judges aren't biased by people who have more time on their hands than others and write a massive orchestral work).

3. The piece must be NEWLY COMPOSED. Cause there's a pretty big chance that more than one of you has written one of these piano pieces already :P

4.  Your piece has to be playable. For those that don't play piano - a typical pianist can comfortably reach the interval of a 9th or a 10th, and a typical "large chord" is 4 notes (5-note chords for one hand in piano music exist, but aren't that common).

5. You can write in whatever style you wish. I know I talked about New Age piano pieces, but as long as you use the chord progression I specified, you can write in whatever style you want.

6. Your piece should be around 2 mins long. You will lose a point if your piece is under 1:40 or over 2:20.

7. Modulations and inversions of chords are allowed, but modulations must be spaced at least 16 bars apart so vi-IV-I-V is established (and repeated) in the new key before it changes again.

A bonus point will be awarded to the first submission, but keep in mind that if you rush it, you might lose points in other areas.
A bonus point will also be awarded if you manage to make your piece exactly 2 minutes and 0 seconds. I will be judging this by looking at the time indication on your score description (if it goes even one second over/under, you don't get the point :P)

The winner will have their name and score link in RSA's Hall of Fame, have their profile and winning score linked at the top of this group's description for a month, and have the group banner changed to congratulate them for a month.

The deadline is July 5th. 

If any of you want to be judges, comment below. The first two people who say they want to be judges will get to be judges.

Have fun, guys! And may RSA revive! :D

Count until a Pro user comments

Inspired the game over at MyAnimeList (, let's count upwards and see how far we can go until a count breaker (listed below) comments and makes us start over.
(The title is kept for historical significance. Count breakers were Pro users with 200+ followers in Season 1)

- A player may only post once every 24 hours** or after another player has posted, whichever comes first.
- A post by a count breaker (listed below) restarts the count (that post is 0).
- The count must go up in order (no missing numbers).
- A counter who holds the last post of a run of at least 10 becomes a place holder.
- A counter can only hold one place at a time. If they win a run that is higher than their record on the board, their record is updated; otherwise, the run is ignored and not placed.***
- Top 3 place holders become count breakers next season (this includes staff).
- The season restarts every 12 pages.
- A run is allowed to spill into the next season, up to a maximum of one page. The new count breakers start as soon as the count is broken or when the count reaches the second page, whichever comes first.*
- MuseScore staff (those with the "staff" badge) count as normal, but they can additionally nullify a count breaker's 0 post and turning it into a regular count post by posting immediately after it (i.e. with no post in between). The staff's post should be x+2, where x is the number in the post immediately before the count was broken.****

* Introduced in Season 3
** Introduced in Season 6
*** Introduced in Season 7
**** Introduced in Season 10

As a courtesy, if your post is wrong because someone posted before you, edit your post instead of deleting it.

Current Season: Season 10
Next Season: Page 121

Count breakers for Season 10:
- ~𝔏𝔦𝔷𝔷𝔞𝔭𝔦𝔢~
- Aqueous Humourati
- ♬𝔅𝔬𝔭𝔭𝔩𝔢♬

Example (* means a count breaker, ** means staff):
1. A: 1
2. B: 2
3. C: 3
4. D*: 0
5. C: 1
6. E*: 0 :P
7: F**: 3 :P :P
8: A: 4
... and so on.

Records for Season 10 (records start at 10):
1. Jaybird1, 25:
2. LeptuneX, 17:
3. Pianodudette, 16:
4. Kenobunny, 15:
5. tPenguinLTG, 13:

All-time record: 630, mike320 (Season 4):

Records for Season 1:
Records for Season 2:
Records for Season 3:
Records for Season 4:
Records for Season 5:
Records for Season 6:
Records for Season 7:
Records for Season 8:
Records for Season 9:

I'll start: 1

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.

Don't kill me.

I'm not going to be as active anymore.
I'M NOT LEAVING! I just don't have the time to be on here as much but I will try to come on like once every other day.

I know you're all sick of the 'I'm leaving' discussions and the 'not going to be as active' ones. 
But I wanted to give you a heads up. 

comme robes vives pour le bal et les retrouvailles

Certains voient les deux comme un rite de passage dont ils se  souviendront pour toujours. C'est pourquoi chaque fille de cette année  rêve non seulement de trouver le bon maquillage et la bonne coiffure,  mais aussi de ce superbe bal de finissants et de ses robes de bal. 

Pour les impressions? Prom est de montrer qui vous êtes. Eh bien
,  il n’ya pas de meilleur moyen de le faire que d’obtenir des robes vives  pour le bal des finissants et le retour au foyer. Incarnez cette  personnalité unique et enjouée avec des imprimés audacieux à  l'aquarelle, floraux, abstraits et ombrés. Soyez prudent lorsque vous  choisissez l'expression que vous recevez, car vous pouvez la gérer aussi  bien. Si vous avez une forme de corps rectiligne et rectangulaire,  utilisez des lignes droites graphiques. Et si vous êtes un peu sinueux robe de quinceanera 2019
, vous pouvez acheter des vêtements aux formes arrondies et plus douces.

Coup d'oeil coupée? Cela  ne ferait pas de mal si vous apportiez de la sensualité à travers votre  robe de bal ou vos robes de bal. Mais au lieu de porter des tenues avec  des décolletés bas et des mini jupes, vous devriez utiliser des  découpes conservatrices peek-a-boo sur le dos et les épaules  fendues. Une touche de peau est tout ce dont vous avez besoin pour  apprécier votre silhouette belle et mature.