dose anyone have sheet music for metallica songs.
Hey When are we gonna get a good front ensemble update
I think the sound of the Warm Synth is very good, and I wish this was the default sounds - - with a few adjustments - - to the group string sounds, i.e., Violins, Violas, Violincellos, Contrabasses. Please have a listen!
This work is taking the piece called ''Reminiscence'' by @romain_gandillet (link here:
) and creating a melody that sits on top of the piece, thus creating a new piece. The idea is inspired from the comment section of the gandillet's piece, where @Jenne Van Antwerpen commented how the piano sounds like Bach's prelude C major from WTC band 1 and that one could try adding a melody on top like Gounod did for Bach.
I have heard this question asked many times during my early professional career, and each time I recoil when I hear it. The fact is, this question is just a way for composers to point an accusatory finger because their art was not met with the glowing reception they crave. Although the question is inherently selfish, the sentiment behind it is legitimate; people do not respect new “intellectual” music anymore. That said, the question approaches the issue from the wrong angle. Composers should instead look inwards to search out what they could be doing to make the listener’s job easier, while at the same time not sacrificing their sense of artistry.
It is the opinion of the author that all music lies on a spectrum of purely popular to purely intellectual. Although these definitions change with the times, all music, contemporary and ancient, fall on this spectrum. For instance, Katy Perry’s newest hit single would fall as close to the “purely popular” side of the spectrum as possible. This ensures that she has as much popularity as possible, but it limits the intellectual nature of the art. Similarly, Milton Babbit falls as close to the “purely intellectual” side of the spectrum as possible, crafting highly complex music that the average music lover would not enjoy. There is certainly a place for those composers in this day and age, and maybe someday that music will be accepted, but since the academic composer of the last eighty years has met with little success in this area, it would be a safe assumption to say that this scenario is unlikely.
To get to the source of the issue, we must ask ourselves: “what is the role of music?” This question is deceptively simple, but ask the academic composer and the average listener alike, and they will come up with answers that may seem the same on the surface, but are in reality very different. The academic might say: “music is for the expression of the inward thought processes, shaped by personal experience and self-growth, managed by our interpretation of those experiences through our intellectual compositional paths,” while the average listener will probably say “music makes me feel good.” This satirical comparison aside, you can see that the listener listens to music to feel, while the academic thinks to compose. This is the author’s opinion of the state of the art. Composers have invested so much in their ability to think up something that no one has thought of before, while ignoring the listeners who love listening to a genre that bases itself upon music that is mostly creatively stagnant and alike to itself.
The question composers should be asking is not pointed towards the audience, but rather towards themselves: “what can I do to reach the audience while not sacrificing my intellectual identity or artistic style?” If the academics ask themselves this question, they will begin to make a connection with the listener, even if the two do not agree completely on style, for at least then, the composer is working for the listener, and not the other way around. When classical music was at its peak, this was the preeminent mindset of the composer. There was no guaranteed second performance of their newest piece, so they wrote to please their audience, but in the case of Beethoven (and others), he still adjusted the musical language for his intellectual purposes. This is why classical music (referring to music of the eighteenth and nineteenth centuries) and jazz are still the most popular recital hall concerts – the genres balance intellectual pursuits of the composer and the desires of the listener.
New music of any intellectual degree will never eclipse the popularity of Katy Perry or the Rolling Stones. That is a given. However, when the composer removes himself from the listener, claiming that it is the listener who owes him and not the other way around, music will never again make a true connection with the listener. Only when the academic composer decides to reach out to the listener will the listener reach out in return, meeting each other in the middle, experiencing music through both the creative lens of the composer and the emotional heart of the listener. Until that happens, the listener owes the composer absolutely nothing.
First things first, transcribing is the arranging a piece of music for a different instrument or voice. Music engraving is the art of drawing music notation at a high quality for the purpose of mechanical reproduction (music copying at a higher degree of skill and quality). Arranging is the adaptation of a composition for performance with instruments or voices other that those originally specified. Here are a couple of tips for those who want to become a better arranger/transcriber/engraver.
1. Figure out what you want to arrange: Always brainstorm your ideas before you start arranging. A good strategy that I use is writing down/typing my ideas on a document. Then, listen to the song you want to arrange. This gives you an idea on how you want to format your arrangement
2. Get to know your transcribing software: After downloading your software, learn how to use it. There are many tutorials on Youtube and there's the online handbook. A good tip: don't be afraid of your computer keyboard. It's actually a huge advantage.
3. Give credit to the original composer: You should never take someone else's music and call it your own. It's wrong and illegal. Always follow the copyright laws. That doesn't mean you can't use the music. It means you can still use another person's music while keeping all of your rights reserved. Just give that person credit.
4. Don't be afraid of UWI's: What is a UWI?? It stands for Unidentified Weird Instruments. If you don't know what the instrument is, look it up or ask your music teacher. Weird instruments like the ocarina, the kazoo, and many others actually enhance your arrangement and make it sound unique.
5. Never doubt your abilities: Always have self confidence. When you doubt yourself, you're actually hindering your abilities. The way to gain self confidence is to practice.
I started transcribing almost two years ago. I hope these tips are helpful and I wish you good luck as you pursue this art.
(This is for a School Competition)
String Quartet No.1 in F minor
Please leave me some feedback! This is my first attempt on string quartet! Please subscribe my channel if you like my compositions!
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'm trying to write 20:3 in 4/4 but I'm not sure how to do that. Anyone know hot?
I'm arranging an indoor show about the four elements including the selections:
Opening by Sleeping at Last
In the Air Tonight by Phil Collins
I Burn by Fools Garden
Waves by Dean Lewis
Earth by Sleeping at Last
Any good titles for this show?
I'm loving MDL so far; it's everything I've wanted out of Musescore percussion, and more. However, there were a few minor things that I've noticed missing that might make for nice additions.
First off, bass drum shots would be nice. Most lines use rim shots (in addition to clicks) on at least first and second bass, so notation for shots vs. rim clicks on basses might come in handy.
Secondly, a hand mute for Drums 3 and 4 on the tenors would make a nice addition, since skanks (shot on 3rd or 4th followed immediately by mute) are fairly common.
And finally, let me say that I know that Muse is a notation software and not a playback software, so this one might be asking too much: it might be nice to have zone changes (specifically on snare) in playback in the future, just to enhance the difference between guts/halfway/center/etc.
Thanks for reading!
I am wondering if someone could make a strings arrangement for "That green gentlemen" by panic at the disco. That would mean a lot. Thanks!! I don't care what instruments or parts, just do what you feel is easiest. :)
Yay!!!!! I found a great title. Its called Terra Firma