Yes, I've recently been editing and revising a bunch of older scores and I get really annoyed with myself for constantly doing that wrong--- usually not continuing the slur to the end of a set of ties notes.
Nahh I'm trying to switch from FL to Reaper right now so I want more Reaper tutorials. There's no shortage of FL Studio tutorials on RUclips anyway. :)
I have no problem with the B to Eb. I might use that in a case where I intended to follow it with a D-natural (especially if it were within the same bar). If someone told me it was difficult for them to read, I would tell them to go back to Bach. In your example, if it were my composition, maybe I'm in C but briefly modulated to Cm and the E-natural is a minor-10 that got sharped (in this case automatically by the C major key signature ) (major-10) like you might hear in blues where a lick might include plenty of minor-10 and major-10 in close proximity. In Cm, B-natural is a major-7, and the interval from major-7 to minor-10 (B-natural to Eb) is a diminished fourth. Now I'm getting out my Bach Violin Sonatas and Partitas to see if I can find a diminished fourth. Sometimes I use weird spellings just to reduce the total number of accidentals in the measure. Even if it means using a double-sharp or double-flat, I mean, don't most people learn to read double-sharps in middle school band? www.google.com/search?q=diminished+fourth&rlz=1C5CHFA_enUS866US866&oq=diminished+fourth&aqs=chrome..69i57j0j0i22i30l6.2304j0j7&sourceid=chrome&ie=UTF-8 I agree notation softwares have inadequate spelling algorithms. The thing about slurring tied notes I agree with too. That was not immediately obvious to me. But what should be obvious is whether or not one is looking at a transposed score. If somebody doesn't know they are looking at a transposed score, they should hand over the baton maybe?
Thanks for watching! With engraving, there are so many exceptions. If I was writing in an extended tonal context, my spelling my adapt to the chord. When talking about parts vs scores even, the accidentals will vary sometimes.
Well done and helpful. I would find another video helpful that digs a little deeper in using enharmonics to simplify scores. Like you said the automated choices by notation programs are not always the best. Spending 5 minutes on each note is not efficient either. Having a few simple rules of thumb and tips to make score writing better and faster would be great.
hey bro, do rappers (hip-hop Artist) need to learn piano, or anything related to music production or i should concentre only on lyrics writing and singing skills on mic?
Hey! Rappers can definitely go very far with just being able to write lyrics and sing. That being said, you can save a ton of money by either learning to produce music, play an instrument, or just learning to mix your own vocals. That way when you buy a beat, you can mix your own tracks. There's something to be said though about finding the right team. A-list rappers like J Cole can make beats, and did that a lot earlier in their career; however, as they reach for more unique sounds they find talented producers to work with.
@@JSMallard I have completed a 30 page detailed list of proofreading suggestions. If you are interested, you can message me on facebook (music engraving tips) and I can send you a pdf file.
I'll be back soon ;). I've been making a lot of moves this past year. It's all good news thankfully. I think my come back to youtube is going to be crazy, but i'm biased lol.
Yeah... meh. Changing notes to their enharmonic equivalent isnt so great. If you are in C and the major third of G, the B, goes to the Eb its sooooo important what note comes after. If its the third of B major and goes to E major or minor as the dominant the D# is correct. However, if the following note is D, then a D# is just wrong and makes it so much harder to read, since its just wrong in functional harmony. And the destination dynamics.. You really do not need to put a dynamic at the end there. Only if you specifically want it to be a really extreme decresc. to pp or a really slight decresc. from ff to f. All other instances, the musicians know what to do in the context of the surroundings.
Hey! Thanks for watching! So there is a huge debate in engraving about whether enharmonics should represent functional harmony or simply be altered for readability. What's worth considering in my opinion is that many pieces are not tonal or have very extended tonality. With that in mind, I and many other composers like to change enharmonics for readability. In your example D# to E would be fine in both schools of thought. So would B to D#, which is what I used in my video insted of B to Eb. Actually, the examples in my video largely fall in line with avoiding odd intervals like A2, A4, D4, etc. So, I'm not sure what you are disagreeing with. For the most part, that would represent functional harmony and improve readability. Otherwise, destination dynamics are a more particular debate. If you do not put a destination dynamic, is the performer supposed to decresc. to niente? Many decresc. just simply have more variety. I may want a F to mf decresc. , so putting a destination dynamic is important in many cases. The more complex part writing and orchestration gets, the more likely that dynamic changes will not happen in unison between instrumental sections. For that reason, composers might have specific needs in for dynamic changes to preserve their orchestrational needs.
@@JSMallard You are correct that we should spell intervals as they sound, all other things being equal. Our friend has a point that sometimes this rule is broken to highlight voice leading (and sometimes, also to inform intonation) but this really mostly only applies to Western classical music of the common practice period. As for target dynamics for hairpins, I agree - it's considered vague and lazy not to include one in modern practice. But it is also very common to see hairpins without targets as more vague, interpretive gestures in the aforementioned CPP classical.
@@MonoIce350s Agreed! It's such a nuanced topic when it comes to interpretation and even the voice leading. I definitely don't think one size fits all. At least in the video's case, there is a bit of a two dimensional example.
I once heard a statement "Music should be engraved not only to be easy to read but so that it is impossible to misread."
All great advice! Thanks for the shoutout too!
Thanks! I had to show some love to your group. It's really one of the most helpful out there.
I would love some more of this! Great work!
Awesome content! Thanks!
Anytime, buddy!
More engraving tips please!
Sure thing! I can plan out some more
Loved that tip on slurs!!! great advice
You know I've been caught slipping on that one 😂. It's so easy to miss
Yes, I've recently been editing and revising a bunch of older scores and I get really annoyed with myself for constantly doing that wrong--- usually not continuing the slur to the end of a set of ties notes.
@@patrickmcgraw9168 I won't even lie, I make the same mistake still too! It's such an easy one to miss as nesting gets more complex.
This is super helpful, thank you❤
Thanks! Glad it helped. It's such a dense topic sometimes
super informative! congrats!
Glad it had some good info! Thanks!
Fire beat in the background of this
Hi, very nice video on engraving principles. Keep it up!
Thanks! More to come.
Yo FL studio tuturial plz
Ayeee! Might have to study to pull that one off😂. Reaper gang for life
Nahh I'm trying to switch from FL to Reaper right now so I want more Reaper tutorials. There's no shortage of FL Studio tutorials on RUclips anyway. :)
All great important stuff!
Thanks, Bill! Really lucky to have people roast my scores a lot 😂
I have no problem with the B to Eb. I might use that in a case where I intended to follow it with a D-natural (especially if it were within the same bar). If someone told me it was difficult for them to read, I would tell them to go back to Bach.
In your example, if it were my composition, maybe I'm in C but briefly modulated to Cm and the E-natural is a minor-10 that got sharped (in this case automatically by the C major key signature ) (major-10) like you might hear in blues where a lick might include plenty of minor-10 and major-10 in close proximity.
In Cm, B-natural is a major-7, and the interval from major-7 to minor-10 (B-natural to Eb) is a diminished fourth.
Now I'm getting out my Bach Violin Sonatas and Partitas to see if I can find a diminished fourth.
Sometimes I use weird spellings just to reduce the total number of accidentals in the measure. Even if it means using a double-sharp or double-flat, I mean, don't most people learn to read double-sharps in middle school band?
www.google.com/search?q=diminished+fourth&rlz=1C5CHFA_enUS866US866&oq=diminished+fourth&aqs=chrome..69i57j0j0i22i30l6.2304j0j7&sourceid=chrome&ie=UTF-8
I agree notation softwares have inadequate spelling algorithms.
The thing about slurring tied notes I agree with too. That was not immediately obvious to me.
But what should be obvious is whether or not one is looking at a transposed score. If somebody doesn't know they are looking at a transposed score, they should hand over the baton maybe?
Thanks for watching! With engraving, there are so many exceptions. If I was writing in an extended tonal context, my spelling my adapt to the chord. When talking about parts vs scores even, the accidentals will vary sometimes.
Well done and helpful. I would find another video helpful that digs a little deeper in using enharmonics to simplify scores. Like you said the automated choices by notation programs are not always the best. Spending 5 minutes on each note is not efficient either. Having a few simple rules of thumb and tips to make score writing better and faster would be great.
Thanks! Maybe I'll get an video done where I show what I do in my scores with spelling
What do y'all want to see next? Let me know! More videos to come on composition, production, and other topics in music.
hey bro, do rappers (hip-hop Artist) need to learn piano, or anything related to music production or i should concentre only on lyrics writing and singing skills on mic?
Hey! Rappers can definitely go very far with just being able to write lyrics and sing. That being said, you can save a ton of money by either learning to produce music, play an instrument, or just learning to mix your own vocals. That way when you buy a beat, you can mix your own tracks.
There's something to be said though about finding the right team. A-list rappers like J Cole can make beats, and did that a lot earlier in their career; however, as they reach for more unique sounds they find talented producers to work with.
Nice 5 tips. Now, you need to explain to us the rest of the 50 tips that are needed for good engraving.
Haha! So true. There are so many things to miss...
@@JSMallard I have completed a 30 page detailed list of proofreading suggestions. If you are interested, you can message me on facebook (music engraving tips) and I can send you a pdf file.
exactly
⚡️⚡️⚡️
fam you just stopped making videos?
I'll be back soon ;). I've been making a lot of moves this past year. It's all good news thankfully. I think my come back to youtube is going to be crazy, but i'm biased lol.
I liked your video but the background music is like a Gif -the endless repeat was awful. 😞
Stemlet collab or I unsub
That will be the most controversial video😂
Yeah... meh.
Changing notes to their enharmonic equivalent isnt so great. If you are in C and the major third of G, the B, goes to the Eb its sooooo important what note comes after. If its the third of B major and goes to E major or minor as the dominant the D# is correct. However, if the following note is D, then a D# is just wrong and makes it so much harder to read, since its just wrong in functional harmony.
And the destination dynamics.. You really do not need to put a dynamic at the end there. Only if you specifically want it to be a really extreme decresc. to pp or a really slight decresc. from ff to f. All other instances, the musicians know what to do in the context of the surroundings.
Hey! Thanks for watching! So there is a huge debate in engraving about whether enharmonics should represent functional harmony or simply be altered for readability. What's worth considering in my opinion is that many pieces are not tonal or have very extended tonality. With that in mind, I and many other composers like to change enharmonics for readability. In your example D# to E would be fine in both schools of thought. So would B to D#, which is what I used in my video insted of B to Eb. Actually, the examples in my video largely fall in line with avoiding odd intervals like A2, A4, D4, etc. So, I'm not sure what you are disagreeing with. For the most part, that would represent functional harmony and improve readability.
Otherwise, destination dynamics are a more particular debate. If you do not put a destination dynamic, is the performer supposed to decresc. to niente? Many decresc. just simply have more variety. I may want a F to mf decresc. , so putting a destination dynamic is important in many cases. The more complex part writing and orchestration gets, the more likely that dynamic changes will not happen in unison between instrumental sections. For that reason, composers might have specific needs in for dynamic changes to preserve their orchestrational needs.
@@JSMallard You are correct that we should spell intervals as they sound, all other things being equal. Our friend has a point that sometimes this rule is broken to highlight voice leading (and sometimes, also to inform intonation) but this really mostly only applies to Western classical music of the common practice period.
As for target dynamics for hairpins, I agree - it's considered vague and lazy not to include one in modern practice. But it is also very common to see hairpins without targets as more vague, interpretive gestures in the aforementioned CPP classical.
@@MonoIce350s Agreed! It's such a nuanced topic when it comes to interpretation and even the voice leading. I definitely don't think one size fits all. At least in the video's case, there is a bit of a two dimensional example.
I was thinking the same thing. It does depend on what follows.