We might not be doing the RSA podcast live :(
We have like 5 meme review channels and whatever
And everyone is pretty active
Would you all listen to and favorite a piano arrangement of "Happier"?
In your opinion, what is the smartest bird?
P.S. I'm running out of ideas for discussions. Can you tell?
It's hard to decide because I love all birds...
I guess, for me, I would say a Chickadee. I absolutely love them! :D
This is similar to your favorite bird, but you can give a different answer. Besides, this group is not very active. :(
I know I do.
I will update this weekly
Group is created today! Woohoo! *confetti and stuff falls from sky*
Eek! I forgot to do this yesterday. The group is already dying, so uhh… :o
@Jaybird1 is one of the first truly active members, I told him I would give him a shoutout here, so here you go :P
I haven't updated this in a while, this group is blowing up now...
Holy cow, this group is blowing up. 8 members in 4 days, wow...
Hmm...Starting to die again...
Welp...I was wrong...
I was very wrong, this group is really blowing up, welp
So I had to kick a member (Indy500) for spamming a link to an unsecure website. Sorry, but spam for no purpose is not tolerated.
Okay then, I don't know what to say
Okay then, I started a discussion trying to get to 1k comments, and I thought it would fail. As I am writing this, Lizzapie, Mnmwert, Vash Hartman, and myself are spamming to get it to 1k. It's already at like 150 or something (every 2 minutes I refresh and I have 10+ notifications lol)
So this group is now closing in on 100 members, but we need more discussions!
Wow, 5 more members till 100!
Woohoo! 100 Members!
This group is starting to die
Now the member count has capped out at around 1 member per day, BUT this is a random group, and I didn't really expect it to be this active.
The RSA podcast is finally starting it's first (The very first was the pilot) podcast!
Hi! I was wondering if you would like to view my compositions. To avoid rhythmic glitches, please print them off of piano shelf .
Planen Sie eine Hochzeit am Strand kann eine spannende Veranstaltung. Die Optionen sind für viele verschiedene Arten von Dekor weit offen. Aber da der Braut Kleidung wird einer der Schwerpunkte viel Zeit muss nach Ausführung ausgegeben werden. Die Länge des Kleides ist einer der wichtigsten Aspekte, die Berücksichtigung verdienen. Viele entscheiden sich für Tee Länge Strandhochzeitskleider wie die Länge steht Ihnen kostenlos für die Braut und gibt einen eher traditionellen Look and Feel. Doch diese Länge hält das Kleid aus immer Medikament in den Sand
, die Anlass zur Sorge für die gesamte Hochzeitsgesellschaft sein kann.
Weiß oder Elfenbein sind die von Bräuten gewählt beliebtesten Farben. Aber eine Hochzeit am Strand ist einladend anderer Farben. Das Kleid selbst kann jede beliebige Farbe sein; aber Drucke oder Blumenentwürfe sind auch in einer Outdoor-Umgebung akzeptabel. Schärpen oder anderes Zubehör verwendet werden, um einen Farbtupfer zum Ensemble fügen. Mit einem Tee Länge Hochzeitskleid Schuhe kann ein großes Zubehör sowie zu werden. Sie werden viel mehr sichtbar sein und können daher verwendet werden, um ihre eigenen
, einzigartigen Hauch von Klasse hinzufügen.
What do you think if you have played this game?
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."
I am just wondering if you are interested and if so I may create a group
Feedback is welcome, this is my first time using Musescore--previously was using Noteflight and imported this from there (it took quite a bit of cleaning up...)
Rob Scallon is a guitar player, but I transcribed Anchor by him. You only need to play 8 fingers at once at most! Worked 7 1/2 hours on this :O
Let me know