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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

Rules:
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

Illogical Arguments

If Satan is the Father of All Lies, and everything he says is a lie, then if he says "I am lying." Is he lying that he's lying, and therefore telling the truth? But if he tells the truth, then the truth is that he is lying.
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If God is omnipotent, can he create a stone so big that even he can't move it? 
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Swiss cheese has holes.
YES.
The more pieces of cheese you have, the more holes you have.
YES.
The more holes you have, the less cheese you have.
YES.
Thus, the more cheese you have, the less cheese you have.
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What'd you think?

Collaborative Symphony

Does anyone want to write a collaborative symphony where we write separate movements but fit within an idea and a theme? HELP STILL WANTED!
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Here is how we are going to do it, we will come up with a theme or an opening melody, which will we will have our movements based on. Once completed we will compose our movements, and when we're done, I will put them together and all people who participated will uploaded it with credits given.
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Do you think this is a good movement structure for my Suite?

I have been working on this Weather Music suite for a while now and I think I have decided on a good movement structure. Here is the overview of the movements.

First movement

Here I'm aiming for a warm feeling, like a sunny day kind of warmth. So far,  I have decided on string quartet + piano for the instrumentation.

Characteristics

Warmth of the sound(which I think primarily comes from my choice of having a string quartet in this movement)
Harmony is in ternary form
Melody is improvised and doesn't follow a specific form
Moderate tempo(which adds to the warmth of the sound)
Ends with a Plagal cadence(I'm aiming for a bit of finality but not total finality, thus the Plagal cadence)

Key

G major

Second movement

I'm thinking of having this movement represent windy weather. As such, a  flute piano duet makes sense for this movement. And it will probably have these characteristics:

Characteristics

Allegro tempo
Tension
Minor key?
Melody that sounds a bit chaotic on its own
Harmonic grounding to the melodic chaos

Key

D minor?

Third movement

This movement, I am thinking of having represent cloudy weather. It makes sense if the second movement is to represent windy weather. As for instrumentation, I have no idea. I'm thinking of having these characteristics to it:

Characteristics

Andante or Adagio tempo, not sure yet
Perhaps end on a diminished 7th to lead smoothly into the Storm movement?
More reserved dynamically speaking(forte becomes a rare dynamic in this movement)

Key

G minor?

Fourth movement

This is the movement I started working on first and I plan for this to be the most intense movement of the suite. That's right, this is the Storm movement of my suite. I decided on piano solo for this movement. I figured that since the pianist has rarely gone solo so far in the suite, that it should have its own movement to shine. As a result of this, here are the characteristics that I decided on:

Characteristics

Scalar passages with leaps
Fast octaves
Forte becomes more of a default than an exception
Presto tempo
More diminished 7th chords
Quite a bit of staccato

Overall, this will be the most Beethovenian of all the movements.

Key

C minor

Here, I would have a calmer sounding interlude after the storm, not really it's own movement

Fifth movement

This I'm thinking of having represent snow. Maybe not the most logical but it will still bring some happiness after the Storm movement. This is where I'm thinking of having flute + string quartet in terms of instrumentation. The pianist is probably going to need a break after the Storm movement

Characteristics

Lots of staccato
Overall higher sound(this is why I thought of adding the flute here)
Allegro? Andante? Moderato?

Key

Bb major

Sixth movement

I'm not sure what instrumentation to use here but it would be more mellow than the Storm movement for obvious reasons. Here are the characteristics it would have since it is a representation of rain:

Characteristics

Slower tempo
Minor key
Staccato
Very few diminished harmonies
More sad than intense

Key

E minor most likely

Seventh movement

This I plan on having feel very happy after the more emotional movements, like a rainbow. I also plan on having all the instruments that have had a role in the suite play in this final movement.

Characteristics

Most likely the longest movement
Might be in sonata form
Ends with a perfect cadence to give a sense of total finality

Key

G major

What do you think of my movement structure? Any adjustments that you would make to the movement structure?

Count until a Pro user comments

Inspired the game over at MyAnimeList (http://myanimelist.net/forum/?topicid=1518596), 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)

Rules:
- 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: https://musescore.com/groups/discussion-group/discuss/2380751?page=114#comment-5009596
2. LeptuneX, 17: https://musescore.com/groups/discussion-group/discuss/2380751?page=113#comment-5002045
3. Pianodudette, 16: https://musescore.com/groups/discussion-group/discuss/2380751?page=115#comment-5019201
4. Kenobunny, 15: https://musescore.com/groups/discussion-group/discuss/2380751?page=113#comment-5003587
5. tPenguinLTG, 13: https://musescore.com/groups/discussion-group/discuss/2380751?page=111#comment-4995533


All-time record: 630, mike320 (Season 4): https://musescore.com/groups/discussion-group/discuss/2380751?page=49#comment-3297911

Records for Season 1: https://musescore.com/groups/discussion-group/discuss/2380751?page=13#comment-2905856
Records for Season 2: https://musescore.com/groups/discussion-group/discuss/2380751?page=25#comment-3227841
Records for Season 3: https://musescore.com/groups/discussion-group/discuss/2380751?page=37#comment-3290251
Records for Season 4: https://musescore.com/groups/discussion-group/discuss/2380751?page=50#comment-3297916
Records for Season 5: https://musescore.com/groups/discussion-group/discuss/2380751?page=61#comment-4241411
Records for Season 6: https://musescore.com/groups/discussion-group/discuss/2380751?page=74#comment-4877543
Records for Season 7: https://musescore.com/groups/discussion-group/discuss/2380751?page=85#comment-4925782
Records for Season 8: https://musescore.com/groups/discussion-group/discuss/2380751?page=97#comment-4948484
Records for Season 9: https://musescore.com/groups/discussion-group/discuss/2380751?page=109#comment-4980393


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.