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I’ll be tinkering around inside Dorico over the next few months, so let’s hope that it turns out to be a worthy alternative! Keep me posted about your experience!

Do it Fantastic 2nd generation notation software

@@smalin it’s a glue binding, it takes a bit of breaking in but I’ve used it at the piano myself. Removing pages can be done, I normally do this by slicing the innermost edge with a pair of scissors. Unfortunately it doesn’t have perforated pages. It’s essentially a paperback book (either 6x9 or 8.5x11 inches) so hopefully that gives you a good sense of it.

very insightful comment! thanks for taking the time to watch. I have found that there is sometimes the assumption that because a composer may use abstract or conceptual approaches (as opposed to a purely intuitive approach based on the ear), therefore it must not sound good to the ear. I have actually found that sometimes these sorts of compositional techniques surprise the ear in amazing ways and the "training" you refer to happens spontaneously and recalibrates what is interesting to the ear, which creates a really interesting positive feedback loop for your intuitive composing, so that you may actually start from a truly exciting place next time you write something intuitively. I find that it's not an either/or situation with composing (i.e. conceptual abstract sketching versus intuitive composing guided by the ear) but a constant process of refining, refining, refining. It could be that initially, when you're starting out, the results are purely random, as you suggest, but in my experience, the more you compose, the closer you get to music that you are passionate about and that you love. It's the same with the visual arts. Maybe the initial experiments are imitation or visual gibberish--but over time the artist learns what they're passionate about and realize they have something to say. I think it's also important to recognize that the music that we are passionate about and love changes over time so having some techniques to force you into new territory can be very beneficial. This is my opinion, it doesn't have to be true for all composers 😀 thanks again for your comment!

@@mathewarrellin You're absolutely right that there is nothing contradictory about composing for both the ear and the concept, but I think intuitive composing is criminally underrepresented in academia. It's almost like going through this process of picking out elements and parameters and recombining them is prerequisite for "good composition". In regards to the point about widening horizons, it is definitely something that I have heard a lot of people say, but I personally have a couple of problems with it: I don't actually believe we truly have preferences about the qualities of sound that aren't associative in some way. What I mean by that is, that I think it is impossible to prefer for example the sound of a pizzicato cello over an arco cello if we don't have a preconceived notion of what those sounds represent in their cultural context. Abstracting the elements and removing them from history, society and tradition ultimately undermines their very meaning. Sure, it might accidentally work to abstract the elements, but it is much more reliable to train the ear on actual new music that conveys meaning to you, and maybe even referencing that material. In the end the language of music just consists of references, and abstract composers tend to overlook or ignore that

@@gustavmadsen8971 I agree with you on many of your points! It’s hard for me to know how true the statement about intuitive composing being underrepresented in academia is. There are so many different pedagogies, I’m not sure we can make these kinds of generalizations. I do think there’s a ton of music like you’re describing that abstracts sounds from their contexts, and the results are pretty sterile and uninteresting. That may be the byproduct of universities funneling their students’ music in the direction of an imitation avant garde, which is already outdated and stale. But many university professors are aware of this and encourage their students to pursue their genuine musical interests! So there is a positive shift that I have witnessed first hand in that regard

Which one? The large notebook or the black ones?

@@mathewarrellin the large one at the beginning. I’m a composer as well and I write my sketches out. That paper looks really cool isn’t a brand or custom made?

@@juantiobecenti2457 that’s the Archive brand. I got it on Amazon but I don’t love it. That’s why I made a custom manuscript journal 🤓

@@mathewarrellinoh ok, I like writing chamber music on large landscape paper and I haven’t came across one that large that’s bound. I personally don’t mind skipping staves for space haha especially if it’s something like a quartet. Thanks for the response, appreciate it.

@@juantiobecenti2457 thanks for watching! I would like to create large landscape custom paper because I prefer it too-I’ll look into it!

love the idea of borrowing from cinema/storytelling! This has been a really fruitful area of exploration for me as well

😂

honestly, I recorded that on my phone so probably just looking at myself being recorded 😅thanks for watching!

I have some in my own music! I'll be sharing some analyses in the future. Thanks for watching!

for Frodo 🎻

@@dianabarajas2220 hahaha totally 😂

@@josevalencia4443 it’s a strange feeling for sure haha

@@BlackdogAnnieMaroomStudio glad this resonates with you!!

I was so excited to hear about the environment before you can get intimate with your instrument being placed in one room close to you you have to spend time with the creator of nature do you have to spend time looking at serving nature spending quiet time at a the lake in the ocean that you don't own

@@suzannemunro3877 glad you found it to be a helpful resource! Let me know if you have any questions and feel free to share with anyone you think might benefit from it

Glad you’ve been enjoying it! Let me know if there are specific topics you’d like clarity on!

Very insightful, and good that you’re asking all these questions!! I think it is beneficial to understand certain things from a technical perspective because it gives your intuition and creativity fuel to explore and experiment, but should never be rules that must be adhered to. As you said, Bach broke many of the so-called “rules,” because he was a composer and sometimes the music calls for new solutions to new problems

Aren't these mathematical formulae just someone giving names for what you absorb as musical examples and things you sing and improvise? It's a great skill to find something in a piece of music you like and absorb it so you can use it intuitively but it's a mistake to think Bach wasn't learning and practising these things in such a way that they would come out spontaneously. This maths might not be necessary but can allow you to be more precise with what it actually is in musical examples that you love that makes them tick. Knowing this could possibly allow you to be more free to experiment. Also strengthening your connection with musical ideas that you learn through analysis and codification might allow you to increase the capacity of the library of musical ideas you can remember. “Anyone who works as hard as I do will succeed as I do.” -Bach

@@RobinJWheeler 100% agree with you! creativity expands to the limits of your technique, as they say

@@mathewarrellin Thanks, these are interesting replies. I think I'm constantly surprised by how different people are in the way they think, and in their natural talents too. Part of the reason I find music analysis of little interest is that I have a poor memory for information that just has to be learned, repeated to keep the memory alive or fix it, which a lot of music stuff is. So these scale degree pairs, or the circle of fifths, even the notes on the grand staff, I struggle to internalize. On the other hand, I can hear a piece of music and work it out on the piano, or if it's simple enough, virtually play it straight off. I remember early on (as a teen - I'm in my 60s now) realising that when I tried to write my compositions, I hit the question of whether a chromatic ("black note") ought to be a sharp or a flat, and I had no idea. It's the theoretical understanding, the harmonic progressions and function that dictates that, I learned a lot later. Now I see that's everywhere and pitches will even change their notated form - along with the double sharps and flats, etc.. To me, it's all pretty irritating trying to read, and impossible to compose in traditional notation. I'm just interested in which of the 12 tones it is, not its functional relationship to some earlier key or home key.

​@@lettersquash yes, notation and theory can be very cumbersome! I often avoid notation until the very end of the compositional process because it is a translation of the musical idea, and it's not always a completely faithful translation. It's more like a bridge for the performer to cross so they can get to where you were when you created the idea, and hopefully, they'll ask questions to support their interpretation of it. But I hear you! there's a lot that's very technical and you have to decide for yourself what's useful for your actual compositions

very true! this video is a very note-centric basics of music notation (I also didn't address rhythm, but I'll do that soon). I could make a video on those symbols you mentioned in the future! Just to clarify these directions, Da Capo (D.C.) basically means "back to the top," Dal Segno (D.S.) means "back to the sign," which is usually an "s-like" symbol with a slash and two dots on either side that you find in the score, Da Coda means to go the the Coda (literally the tail-end of the piece--in Italian, "coda" is tail), which is notated as an oval with a cross over it. A lot of the time, they'll be combined with "Da Coda" or "al Fine" (to the moment with "Fine" written above it in the score which is effectively the ending), so D.C. al Fine means go back to the beginning and play until you see "Fine," then stop. Dal Segno al Fine would mean repeat back the the sign and then go to the Fine. DC al Coda would mean back to the top and play through the Coda (the tail). It is quite variable, but I hope that helped to understand these symbols! Let me know if you'd like me to go over this in a future video

@@mathewarrellin yes, e.g., play to repeat back to repeat, play to top, play to sign, play back to sign, play to Coda, play to last repeat, play to fine.

@@ejtonefan yes! 👍🏻

I feel the same whenever I listen to this song!

yes!

this is an actual flute, it is a live performance! the flutist is Dalia Chin

glad you enjoyed it!

thanks for the comment! I'm actually not pushing the string down at all, only playing natural harmonics. It's because of the proximity of other harmonics to the nodes I'm touching and the slight changes in where the bow meets the string

@mathewarrellin interesting! I'm a guitarist and was trying to work out how that happens. That can happen on a guitar but normally not with natural harmonics. Perfect 5ths and stuff like that do ring out if you do it just right on certain parts of the neck with fretted notes. It's very cool to see it works similiar on bow played stringed instruments as well. The bow does some cool stuff you just can't replicate on a guitar.

@@ZackDuck-rm4dt unless you bow the guitar string 😉

Glad you liked it! Feel free to use it :)

You’re right! I’ll make another video showing what I’m doing in more detail

Totally!

Thanks!!