# Symphony No. 1 In F# Major "Chaos" (As of First Movement.)



## Capeditiea

http://www.capeditiea.zenseiderz.org/albums/Ghost_Symphony/01_I_The_Way_in_Molto_Adagio.mp3



The Four Movements 
I: The Way in Molto Adagio
II: The Story in Grave
III: Scherzo: The Beauty in Allegro
IV: The Chaos in Andante

The Second to Fourth Movements are still being worked on, and will be added to this thread.


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## Phil loves classical

I think you’re going for the polytonal effect in the first movement? I didn’t hear the others yet.


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## Capeditiea

Phil loves classical said:


> I think you're going for the polytonal effect in the first movement? I didn't hear the others yet.


:3 the others are not compiled yet. :3 
Soon...


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## Capeditiea

I have compiled the second movement. (but will have to revise it, since it is far too near the end, so i am taking a break and working on the third movement, ie. the scherzo.) 
I also shortened the first movement by about 0:25 seconds. because the end seemed to be taking too long to go to the second movement. Which inevitable killed the dimension you would be in. So i fixed that.  

My goal is to finish the first draft of the scherzo by sunday. (i know it won't be done by spring... like i hoped. so i will be releasing the finished Symphony by April 18 or April 20th. (depending on how much i need to change for the second and final drafts.  

Which i usually do three drafts... I still have to go back and rework some of the earlier works. Since listening to my String Quartet No. 1 it has far too much going on at once. (and would probably shorten it to 3 movements as well as make it in F minor or B major...)

Where the Symphonic Suite will probably remain in C Major. But also make the variations more variationafied. 

While Quintet for Timpani, Piano, Viola, Cello, and Flute is all good, i wanna change it to Bflat Minor, (which would be in the same key as the Cello Concerto...) A minor, or in G Minor... 

The Cello Concerto No. 1 will end up a bit shorter... (especially the first two movements.)

The Septet for Piano Quintet, Oboe, and Bassoon will be switched to G Major. and i will combine the first two and the last two movements and make it fast, slow, fast. 

Piano Madness will be transcribed. :3 

finally we will be caught up with the symphony no. 1... which is when i will work on the final draft.


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## Capeditiea

Capeditiea said:


> http://www.capeditiea.zenseiderz.org/albums/Ghost_Symphony/01_I_The_Way_in_Molto_Adagio.mp3
> 
> 
> 
> The Four Movements
> I: The Way in Molto Adagio
> II: The Story in Grave
> III: Rondo Scherzo: The Beauty in Allegro
> IV: The Chaos in Andante
> 
> The Second to Fourth Movements are still being worked on, and will be added to this thread.


I simply decided that a Rondo Scherzo would be more suited for this work.  plus being a Rondo Scherzo i can simply do some Chaotic things.


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## Capeditiea

Capeditiea said:


> I have compiled the second movement. (but will have to revise it, since it is far too near the end, so i am taking a break and working on the third movement, ie. the scherzo.)
> I also shortened the first movement by about 0:25 seconds. because the end seemed to be taking too long to go to the second movement. Which inevitable killed the dimension you would be in. So i fixed that.
> 
> My goal is to finish the first draft of the scherzo by sunday. (i know it won't be done by spring... like i hoped. so i will be releasing the finished Symphony by April 18 or April 20th. (depending on how much i need to change for the second and final drafts.
> 
> Which i usually do three drafts... I still have to go back and rework some of the earlier works. Since listening to my String Quartet No. 1 it has far too much going on at once. (and would probably shorten it to 3 movements as well as make it in F minor or B major...)
> 
> Where the Symphonic Suite will probably remain in C Major. But also make the variations more variationafied.
> 
> While Quintet for Timpani, Piano, Viola, Cello, and Flute is all good, i wanna change it to Bflat Minor, (which would be in the same key as the Cello Concerto...) A minor, or in G Minor...
> 
> The Cello Concerto No. 1 will end up a bit shorter... (especially the first two movements.)
> 
> The Septet for Piano Quintet, Oboe, and Bassoon will be switched to G Major. and i will combine the first two and the last two movements and make it fast, slow, fast.
> 
> Piano Madness will be transcribed. :3
> 
> finally we will be caught up with the symphony no. 1... which is when i will work on the final draft.


i decided against this...

but an update. I just have to reprase a few measures for the third movement, and everything but the coda for the fourth movement.  it is turning out amazing.


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## Captainnumber36

Looking forward to hearing it.


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## Capeditiea

IT IS DONE!

Opus008_Symphony No. 1 in F# Major

a few changes i ended up making the fourth movement moderato.

and here is the link to my publishing site...

https://capeditiea.musicaneo.com/

:3 the first link will grant you to listen while the second is for those who are willing to perform it with an orchestra.


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## EddieRUKiddingVarese

Very cool just started listening


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## E Cristobal Poveda

It's definitely... unique. I don't know if it's quite to my taste though... it's a bit too... dissonant for my liking.


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## E Cristobal Poveda

the movements sound way too similar.

Also, I don't know if Chaos is appropriate for the symphony... it isn't all that chaotic and kinda dull really.


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## Capeditiea

E Cristobal Poveda said:


> the movements sound way too similar.
> 
> Also, I don't know if Chaos is appropriate for the symphony... it isn't all that chaotic and kinda dull really.


:3 the chaos is in the theory not how it sounds. there is a really great hint right in front of you... what is the third movement called? expand that through the full symphony and thusly that is the Beauty of it. Sonata form has introduction, exposition, development, recapulation, Correct?

Just where is the Introduction to each movement? 
the Exposition? 
the development? 
the recapulation?
the coda?

there is a bunch thought to it...

there are 8 themes. as well as several quotes from others.

the reason it is called Chaos is because it is in a very different order.

Given the fact the movements sound the same... they are in their perscribed tempo. it is just influenced by more or less semiquavers and demisemiquavers.

I seriously have enough experience to make something so chaotic (scorewise and theory wise) sound so calm and monotonous. (even though it is my 8th classical opus. :3 however. i will not give the excuse for it being computer generated... even though live performance would include much more expression. (and probably about a minute shorter in the first movement.

it may because i have listened to it so many times that each movement sounds completely different to me... so i will not rebuke the fact it sounds too similar... since you are the second person to tell me this...

each individual movement has it's own story behind it. but all together it is one story.

have you noticed i put a fugue in there using one of the many themes?

But really... the title Chaos is not how it sounds but how it is composed.  that was the plan all along.

Doesn't the fourth movement sound as though it was rushed and an improv? 
Here i shall copy paste something from the site when i began writing the symphony for additional things. :3
(which can be found in the musicaneo link... blogs section...)

08 February 2018
An Announcement.

 today marks the day, I will officially start working on Symphony No. 1 "Chaos" :3 now i shall tell you the story. Chaos has a bunch of unknown to the public meanings. Like a lot of things... in this case, it will contain a lot of people. This will mark the change in music. Also will have younger listeners inspired. Now since most of the world is quite familiar with hip-hop, electronic dance movement, and of course rock... but even more so... "The World's Smallest Violin" (which is gonna be a later work... (Violin Concerto)) is gonna make it's kinda prescence... in case you haven't noticed by now... everything tells a story... from Op001-how ever many operas i make... I suspect i might have everything composed for my First Symphony by the first day of Spring. (at least that is my goal... (it is all in my mind now by the way. the story, the beauty, the CHAOS!) This will change history...  wanna know why?
ups... oops...
I typed all the above in the description.
but it suprisingly led you to a question on knowing why...
If you would like to become part of history... Join the Ghost Symphony!
There is no limit to how many would play, Who would play?
Who could play?
everyone, everywhere, feel the power of us all!
The theme doesn't come in for a long while.
Many Leaving, because it is just too much for them,
they refuse to feel their guilts. Where silence permiates the air...
Let us not forget why we came here.
Don't forget to sing with your instruments...
love your instruments, caress their existence. and BOOM!
some more Chaos.
but what comes next...


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## Phil loves classical

can you put on youtube? it won’t play on my ipad. I have to go to my work PC to listen otherwise, and I don’t want to go to work when I don’t need to.


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## Capeditiea

Phil loves classical said:


> can you put on youtube? it won't play on my ipad. I have to go to my work PC to listen otherwise, and I don't want to go to work when I don't need to.


i don't use anything related to google... 
for various reasons. (not because i am paranoid of them tracking my everymove... :O naw i just dislike the company... and their probing privacy issues. same goes for facebook... twitter and such... they are all so persistant with obtaining my information... *the rant continues for a book worth...)

your ipad won't play mp3s?

if it is due to the zip thing... i am not sure what apple products use to unzip files...

i know apple products usually save as m4a or what ever the format is for music files... so i could upload that if mp3 files are the case...

give me a second to see what the program for unzipping would be... for apple... i guess there are a few... iZip seems to be more "trusted" for mac... given the fact the i is in front... :3


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## hpowders

OP: Please don't forget me when you are off composing for a lot of money.


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## Capeditiea

hpowders said:


> OP: Please don't forget me when you are off composing for a lot of money.


i feel honored to be your official 18,929 post. :3 and probably millionth or so post.

but i won't. :3


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## Phil loves classical

Capeditiea said:


> i don't use anything related to google...
> for various reasons. (not because i am paranoid of them tracking my everymove... :O naw i just dislike the company... and their probing privacy issues. same goes for facebook... twitter and such... they are all so persistant with obtaining my information... *the rant continues for a book worth...)
> 
> your ipad won't play mp3s?
> 
> if it is due to the zip thing... i am not sure what apple products use to unzip files...
> 
> i know apple products usually save as m4a or what ever the format is for music files... so i could upload that if mp3 files are the case...
> 
> give me a second to see what the program for unzipping would be... for apple... i guess there are a few... iZip seems to be more "trusted" for mac... given the fact the i is in front... :3


Cheaper than paying to host your own website. I finally got around to listening. I agree with E Christobal the movements sound similar to each other in tempo and rhythms and key. It sounds similar to film music for medieval times. What was the idea behind the Chaos title?


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## Capeditiea

Phil loves classical said:


> Cheaper than paying to host your own website. I finally got around to listening. I agree with E Christobal the movements sound similar to each other in tempo and rhythms and key. It sounds similar to film music for medieval times. What was the idea behind the Chaos title?


:3 the chaos is in the theory not how it sounds. there is a really great hint right in front of you... what is the third movement called? expand that through the full symphony and thusly that is the Beauty of it. Sonata form has introduction, exposition, development, recapulation, Correct?

Just where is the Introduction to each movement? 
the Exposition? 
the development? 
the recapulation?
the coda?

there is a bunch thought to it...

there are 8 themes. as well as several quotes from others.

the reason it is called Chaos is because it is in a very different order.

Given the fact the movements sound the same... they are in their perscribed tempo. it is just influenced by more or less semiquavers and demisemiquavers.

I seriously have enough experience to make something so chaotic (scorewise and theory wise) sound so calm and monotonous. (even though it is my 8th classical opus. :3 however. i will not give the excuse for it being computer generated... even though live performance would include much more expression. (and probably about a minute shorter in the first movement.

it may because i have listened to it so many times that each movement sounds completely different to me... so i will not rebuke the fact it sounds too similar... since you are the second person to tell me this...

each individual movement has it's own story behind it. but all together it is one story.

have you noticed i put a fugue in there using one of the many themes?

But really... the title Chaos is not how it sounds but how it is composed. that was the plan all along.

Doesn't the fourth movement sound as though it was rushed and an improv? 
Here i shall copy paste something from the site when i began writing the symphony for additional things. :3
(which can be found in the musicaneo link... blogs section...)

08 February 2018
An Announcement.

today marks the day, I will officially start working on Symphony No. 1 "Chaos" :3 now i shall tell you the story. Chaos has a bunch of unknown to the public meanings. Like a lot of things... in this case, it will contain a lot of people. This will mark the change in music. Also will have younger listeners inspired. Now since most of the world is quite familiar with hip-hop, electronic dance movement, and of course rock... but even more so... "The World's Smallest Violin" (which is gonna be a later work... (Violin Concerto)) is gonna make it's kinda prescence... in case you haven't noticed by now... everything tells a story... from Op001-how ever many operas i make... I suspect i might have everything composed for my First Symphony by the first day of Spring. (at least that is my goal... (it is all in my mind now by the way. the story, the beauty, the CHAOS!) This will change history... wanna know why?
ups... oops...
I typed all the above in the description.
but it suprisingly led you to a question on knowing why...
If you would like to become part of history... Join the Ghost Symphony!
There is no limit to how many would play, Who would play?
Who could play?
everyone, everywhere, feel the power of us all!
The theme doesn't come in for a long while.
Many Leaving, because it is just too much for them,
they refuse to feel their guilts. Where silence permiates the air...
Let us not forget why we came here.
Don't forget to sing with your instruments...
love your instruments, caress their existence. and BOOM!
some more Chaos.
but what comes next...

think fractals.


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## Phil loves classical

I'm going to analyse the symphony in more detail. I believe part of the reason why they sound more similar is your use of note values.

The natural beat on your 2nd movement marked Grave is 88 bpm, since you use 16th notes or what you call semiquavers a lot, the tempo is more like 6/8 instead of 3/4. The accompaniment follows that rhythm often.

The natural beat on the 3rd movement is at 104 bpm, at 3/4 time of the way it is written, since you use eighth notes often.

So based on those 2 extremes in tempo markings, the perceivable difference in tempo is only 15%, while Allegro is actually 3 times or more the speed of Grave. Even though you changed the note values between movements, the usage is still similar.

Another thing is the key signature is F# Major is used for all movements. And although there is some playing in different modes of the key (the main theme in the Scherzo is in Aeolian mode, and the Grave is in Ionian/Major), It never quite modulates out of the key. The combination of those 2 things make the character of the movements feel the same.


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## Capeditiea

Phil loves classical said:


> I'm going to analyse the symphony in more detail. I believe part of the reason why they sound more similar is your use of note values.
> 
> The natural beat on your 2nd movement marked Grave is 88 bpm, since you use 16th notes or what you call semiquavers a lot, the tempo is more like 6/8 instead of 3/4. The accompaniment follows that rhythm often.
> 
> The natural beat on the 3rd movement is at 104 bpm, at 3/4 time of the way it is written, since you use eighth notes often.
> 
> So based on those 2 extremes in tempo markings, the perceivable difference in tempo is only 15%, while Allegro is actually 3 times or more the speed of Grave. Even though you changed the note values between movements, the usage is still similar.
> 
> Another thing is the key signature is F# Major is used for all movements. And although there is some playing in different modes of the key (the main theme in the Scherzo is in Aeolian mode, and the Grave is in Ionian/Major), It never quite modulates out of the key. The combination of those 2 things make the character of the movements feel the same.


exactly  but the second movement is in 4/4... not 3/4  (which could verywell be a typo.)
I was thinking of having the Scherzo in D# Minor but it is far too ambitous to be in D# minor... but could still be played in D# minor. (which i don't think many symphonies do this for the scherzo.)

this same pattern follows with the molto adagio and the moderato movements as well. which follow suit of 3/4 :3 
if one would consider it the range for the entire symphony would simply be continually in Andante.  Which is basically like early Symphonic Poems. But instead uses various methods to provide a point in four movements. (like fractals which are part of the Chaos Theory.)

So the Chaos title is simply Mathematical Chaos.


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## Phil loves classical

Based on your explanations, I think what you called "controlled disonance" and chaos is in fact a technique called polymodality, as I suspected. Where different themes use different modes of the same scale. You didn't have to invent a whole new theory for that. I believe you intuitively arranged it that way without realising there is already a technique the same way.


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## Capeditiea

Phil loves classical said:


> Based on your explanations, I think what you called "controlled disonance" and chaos is in fact a technique called polymodality, as I suspected. Where different themes use different modes of the same scale. You didn't have to invent a whole new theory for that. I believe you intuitively arranged it that way without realising there is already a technique the same way.


that is probably the case. :3 more often than not, i intuitively do things, then learn about them later on.  but those intuitive things are decreasing since i am learning more than composing.  i guess you could say i am finding out things i have already done intuitively... So in my own mind it is new, while i feel everything i have done is quite old, due to increasing familiarity.

*nods, i am curious if any one has heard or seen much of the phrases i make in other works...  it would seem quite interesting. 
i know of a few that sound similar to my non-classical compositions... Sorabji, Mahler, Dvorak, Martinu (definately his fifth.), and Vivaldi, i am sure there are a lot others... but i have done as many non-classical songs as Bach has done of works... (though many have been deleted, lost, or not talked about...) from Autumn 2010- to Winter 2017 (plus i have a Electronic Jazz Ambient Classical styled album that will inevitably become part of my final work. so far it is a concerto grossi of Piano, Harpsichord, Organ, and Strings along with a few instruments i used in the Circa 2017 albums... although i wanna probably switch them to another instrument that sounds similar.)  but i have to take the time to switch it from one program (LMMS) to another to score it.  it is gonna be my only post-mordem (or post humanous) work, and officially Op067.


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## dzc4627

Yeah this sounds dreadful. I guess that explains the reason you felt the need to make a post subduing blunt criticism.


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## Capeditiea

dzc4627 said:


> Yeah this sounds dreadful. I guess that explains the reason you felt the need to make a post subduing blunt criticism.


What have i done to you to have you attach your self to my posts and critisize everything?

Was it from my past?

Did you even read what was written?


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## dzc4627

Capeditiea said:


> What have i done to you to have you attach your self to my posts and critisize everything?
> 
> Was it from my past?
> 
> Did you even read what was written?


You didn't do anything to me. I don't know you. But you posted a poor sounding piece of music as well as a poor post on how you think we ought to criticize music here.

I did read what was written, yes.


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## St Matthew

dzc4627 said:


> You didn't do anything to me. I don't know you. But you posted *a poor sounding piece* of music as well as a poor post on how you think we ought to criticize music here.
> 
> I did read what was written, yes.


I beg to differ, you don't get to make up my mind. In fact, you don't even provide me anything of substance to re-evaluate my own thoughts on Capeditiea's piece - to be able to decide whether or not my initial opinion of Capeditiea's piece was correct or not. What gives?


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## dzc4627

St Matthew said:


> I beg to differ, *you don't get to make up my mind.* In fact, you don't even provide me anything of substance to re-evaluate my own thoughts on Capeditiea's piece - to be able to decide whether or not my initial opinion of Capeditiea's piece was correct or not. What gives?


Isn't it great that I wasn't trying to?


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## Capeditiea

dzc4627 said:


> You didn't do anything to me. I don't know you. But you posted a poor sounding piece of music as well as a poor post on how you think we ought to criticize music here.
> 
> I did read what was written, yes.


Well, then. You should instead do as i request and look at the score... 
you recently posted two of your works... do you think your values towards me would win you any listeners... *nods, 
i already understand no one can make a perfect piece. I also understand that not everyone would like my works.

So if i were to bluntly say your works were "dreadful" how would you react? (just how many people reply to your works?) 
You are young, from what i seen on your profile. I am more than a decade older than you. So really, you just thinking "hey, that "A Lesson on Critisism" is trying to tell others... 
"Hey play nice guys, because we don't want to hurt other's feelings." 
No... i even clearly stated that it was not.

I insisted that we point out what is incorrect, instead of saying, the work is "disgusting." Because the only ones who get hurt from this are new composers who have not yet explored their own voices. shutting those down when they are young is stupid. they need to be taught not killed off like flies.

In regards to this symphony. this is all mathematical. everything. the sound would sound better played live if one were to look and know how to read music. It is fairly simple to understand.

However, you are the epitome of the reason for the lesson post. because you know nothing. you jump to conclusions and boom. you call a work disgusting because it doesn't match the preference you have...

the greatest most funny thing about all this is... Mahler's Tenth, Rites of Spring, Vivaldi's four seasons, Korngold's Symphony in F# Major, Messeian's Turangula Symphonie, were all a major inspiration to this work.

But then we have all my experience in composing, non-classical works and classical works. along with my research. That you fail, not knowing who i am, would not even begin to comprehend the values... You were in kindergarden when i started composing songs non-stop for all those years. many songs, works, albums have been completely erased from this world. (with maybe a few exceptions from folk who have ended up my fans through out the many years.)

If you really want to press on the sound a little more, you can... but the fact you already pointed it out is kinda redundant. :3

but please say more if you would like...


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## St Matthew

dzc4627 said:


> Isn't it great that I wasn't trying to?


But you are posting and still gleefully proclaiming how you think it is so terrible?

I think your opinions are atrocious and poorly planned and articulated.


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## dzc4627

Capeditiea said:


> Well, then. You should instead do as i request and look at the score...
> you recently posted two of your works... do you think your values towards me would win you any listeners... *nods,
> i already understand no one can make a perfect piece. I also understand that not everyone would like my works.
> 
> So if i were to bluntly say your works were "dreadful" how would you react? (just how many people reply to your works?)
> You are young, from what i seen on your profile. I am more than a decade older than you. So really, you just thinking "hey, that "A Lesson on Critisism" is trying to tell others...
> "Hey play nice guys, because we don't want to hurt other's feelings."
> No... i even clearly stated that it was not.
> 
> I insisted that we point out what is incorrect, instead of saying, the work is "disgusting." Because the only ones who get hurt from this are new composers who have not yet explored their own voices. shutting those down when they are young is stupid. they need to be taught not killed off like flies.
> 
> In regards to this symphony. this is all mathematical. everything. the sound would sound better played live if one were to look and know how to read music. It is fairly simple to understand.
> 
> However, you are the epitome of the reason for the lesson post. because you know nothing. you jump to conclusions and boom. you call a work disgusting because it doesn't match the preference you have...
> 
> the greatest most funny thing about all this is... Mahler's Tenth, Rites of Spring, Vivaldi's four seasons, Korngold's Symphony in F# Major, Messeian's Turangula Symphonie, were all a major inspiration to this work.
> 
> But then we have all my experience in composing, non-classical works and classical works. along with my research. That you fail, not knowing who i am, would not even begin to comprehend the values... You were in kindergarden when i started composing songs non-stop for all those years. many songs, works, albums have been completely erased from this world. (with maybe a few exceptions from folk who have ended up my fans through out the many years.)
> 
> If you really want to press on the sound a little more, you can... but the fact you already pointed it out is kinda redundant. :3
> 
> but please say more if you would like...


I don't need to win listeners on an internet forum. I see that you post bad sounding music and I respond to say as much.

If you called my works dreadful I'd have to ask "why?" But with your music it is evident from the actual sound of it. A live playing would only reinforce its lack of goodness. However many replies my works get is totally irrelevant in this moment. It is not my concern. I can understand why it might be for someone like you, whose only audience perhaps is here on this forum.

I don't give a damn how mathematical it is. It just sounds awkward and clumsy and speaks no value to my ear. "The greatest most funny thing" is that your music sounds like none of those works, all of which are good works, and does not seem to learn any lick of musical rhetoric from them.

All those years you describe matter not if what you produce is inept.


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## Capeditiea

dzc4627 said:


> I don't need to win listeners on an internet forum. I see that you post bad sounding music and I respond to say as much.
> 
> If you called my works dreadful I'd have to ask "why?" But with your music it is evident from the actual sound of it. A live playing would only reinforce its lack of goodness. However many replies my works get is totally irrelevant in this moment. It is not my concern. I can understand why it might be for someone like you, whose only audience perhaps is here on this forum.
> 
> I don't give a damn how mathematical it is. It just sounds awkward and clumsy and speaks no value to my ear. "The greatest most funny thing" is that your music sounds like none of those works, all of which are good works, and does not seem to learn any lick of musical rhetoric from them.
> 
> All those years you describe matter not if what you produce is inept.


Then, I shall ask, Why do you think my work is "disgusting?" 
awkward and clumsy? 
have you thought maybe that is your interpritation of Chaos?

it is truely the epitome of how one sees Chaos, if you dislike Chaos, you dislike the song. basic Psychology is also implimented into this work.

There is far more thought to it than one might think or enjoy or even care to know... the fact remains though... this work cannot be analysed in one night. Nor can it be intriprited completely in one listen. There is a lot of advanced things to this. (even though the score has only 3 articulations (beyond the minimal slurs that can probably be edited.) 
Which means it is to be played rough, and clumsily.  really any negative things brought upon this would clearly be described. Because it requires more than one listen to fully comprehend the value of the symphony.

I really hope there are more folk who can discredit my ugly music. (which is made ugly on purpose because i don't want folk who judge things by the outside of the skin. Chopin's music is similar in this aspect, whom also takes several times to listen, or to practice enough to understand the real evaluation.

I am fully leaving how the composition is to be played by the conductor and the players. They are the important ones who have to repetitively play this work accurately.

Now, i repeat, Why do you think my symphony is "disgusting"?


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## Vasks

Capeditiea said:


> Well, then. You should instead do as i request and look at the score...


Where can I see the entire score? I have seen only a "preview" of the first page of each movement.


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## dzc4627

Capeditiea said:


> Then, I shall ask, Why do you think my work is "disgusting?"
> awkward and clumsy?
> have you thought maybe that is your interpritation of Chaos?
> 
> it is truely the epitome of how one sees Chaos, if you dislike Chaos, you dislike the song. basic Psychology is also implimented into this work.
> 
> There is far more thought to it than one might think or enjoy or even care to know... the fact remains though... this work cannot be analysed in one night. Nor can it be intriprited completely in one listen. There is a lot of advanced things to this. (even though the score has only 3 articulations (beyond the minimal slurs that can probably be edited.)
> Which means it is to be played rough, and clumsily.  really any negative things brought upon this would clearly be described. Because it requires more than one listen to fully comprehend the value of the symphony.
> 
> I really hope there are more folk who can discredit my ugly music. (which is made ugly on purpose because i don't want folk who judge things by the outside of the skin. Chopin's music is similar in this aspect, whom also takes several times to listen, or to practice enough to understand the real evaluation.
> 
> I am fully leaving how the composition is to be played by the conductor and the players. They are the important ones who have to repetitively play this work accurately.
> 
> Now, i repeat, Why do you think my symphony is "disgusting"?


I'm confused as to why you keep quoting me on "disgusting." I never wrote that.

Perhaps I just don't understand your magesterial creation, thus leading to by ibability to... intriprit it. In which case... aw man.


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## Captainnumber36

Ah, the DZC returns and is in full form, I see. I have had issues with him in the past, just let him post his critiques in his rude manner and just ignore them.


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## Captainnumber36

I agree with the posters above that the movements sound too similar too each other. I also feel a lack of development in the piece. Just my .02!


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## Capeditiea

Captainnumber36 said:


> I agree with the posters above that the movements sound too similar too each other. I also feel a lack of development in the piece. Just my .02!


You got me there... (the development is non-existant... even in my thoughts... it builds up all the way through which i feel is enough for the presentation i am going for.) :3

I am thinking of editing it with more articulations, and timesignature shifts, (since i realize thanks to a friend... showing me one of Bartok's works.) Since most of the public is let down by the mathematical chaos... how about i go for the mainstream chaos.  (even though that is my norm in compositions. lol) But i am not so sure musescore can effectively sound how i want it to sound. *nods.

But then again, i still would prefer it be learning material and more open to the conductor's intripritation along with how the players would want to express it... so i am on the fence with editing.

I am working on four works at once... working on them for an hour each per day. (at least.) :3 using some more interesting thoughts.

Captainnumber36, i request that you read phil's comment on the tempo... but also, that is the one thing i wanted to make sure that it sounded like each other. :3

Vasks http://www.capeditiea.zenseiderz.org/albums/Ghost_Symphony/

click the aptly titled Op008... you will require an unzipper, to see them...

and dzc... disgusting, dreadful... :3 i was tired (well still am) and mixed the two words...


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## Zeus

Hello Capeditiea;

I don't mean to sound rude, and I will try to be brief: I am by no means a music teacher, or an extremely learned composer, but in line with what I have studied and the rest of my knowledge, I would like to tell you a few things.

First, don't write ambiguously. How can you write 42 pages of music (didn't look at the rest of movements) and not write a single dynamic marking? Do you expect the orchestra to read your mind? Or are you just lazy? When you compose, you don't rely on the performer's ability to play your notes in the way he has learned to do so: you write everything for him so that everyone is going to play the same thing, otherwise, you are leaving your composition to chance, and thus no performance belongs to you (I know you disagree). There are hundreds of ways to play a note, and you need to write exactly each one how you want it. If you just write a black head with a stick, then that's just a poor suggestion, not a musical idea.

Second, if you haven't picked up an orchestration/instrumentation book yet, then do so. And if you have, then study them more in-depth. A great advice I can give you is that the more you know about each instrument, the more practical you will be when writing music, and the better your music will sound, because the players will be comfortable playing through the piece. 

Third, why are you writing for orchestra? Why even write for anything more than one or two instruments at first? If you can't write 3 minutes of quality music for one instrument, how is it possible you can properly write a symphonic work? I feel like there's a lot of studying to do, you need to listen to thousands of more hours of music, from all styles, studying the scores, forms, everything. Honestly you've just started a palace from the roof, without even the required materials.

Finally: why do you compose music? Is it to please yourself only, other people? Do you want your works premiered in halls? Or perhaps you are content with the MIDI sound? Are you happy with your music? Does it move you? If you write music for yourself only, and don't want to have it premiered by other people, and you don't need it performed by physical instruments, and you are happy with your music, and get emotional listening to it: then all of the advice I gave you is meaningless. If, on the other hand, you want to create strong feelings in other people listening to your music: have them live a trascendental experience, then you are going to need to think and investigate, and most important of all, philosophize for long, long hours, and find at the end what separates works like Scriabin 4th & 5th symphonies and Piano sonatas, Mahler symphonies, Strauss' poems, Beethoven, Wagner, Penderecki, Berg, Bartok, all these giant composers whom we all know their names because thanks to them we are happier; what separates their music from others, what do they all have in common that the vast majority of the musicians throughout the centuries have agreed in glorifying them because they all have been moved by it?

I believe a very small part of being a composer is actually writing music. Since the last few months, I have begun to understand and think longly about why do I write music (or why do I like doing so), with what end/s do I do it, and how can I achieve these ends. After this hiatus without writing barely any music, I have slowly started to compose again, with a clearer path in my head, having asked myself these questions, and trying to achieve what I have found are my goals.

I hope this didn't sound pretentious in any way, I just have a very strong belief in everything I told you, and, on a last note, I would like to wish you best of luck. 

I'm more of a lurker nowadays than a regular member, but if you take my advice, I will be glad to help you in any way I can, to the best of my possibilities.


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## Phil loves classical

I think Cap, that similar to Billy you called the work a symphony which doesn't fit the mould, the tempo was one thing. Zeus had one comment somewhere I think is quite relevant, which is not to write to fit a certain form, but to write as what is appropriate for the piece. Debussy and Webern never wrote symphonies or concertos. My honest opinion is if you condense the form, it would be stronger.


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## Zeus

Phil loves classical said:


> I think Cap, that similar to Billy you called the work a symphony which doesn't fit the mould, the tempo was one thing. Zeus had one comment somewhere I think is quite relevant, which is not to write to fit a certain form, but to write as what is appropriate for the piece. Debussy and Webern never wrote symphonies or concertos. My honest opinion is if you condense the form, it would be stronger.


https://en.m.wikipedia.org/wiki/Developing_variation


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## E Cristobal Poveda

I, for the life of me, cannot understand the 12 tone system.


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## Zeus

E Cristobal Poveda said:


> I, for the life of me, cannot understand the 12 tone system.


If you are referring to my link, the developing variation technique isn't exclusive to dodecaphonism.


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## Captainnumber36

Zeus said:


> Hello Capeditiea;
> 
> I don't mean to sound rude, and I will try to be brief: I am by no means a music teacher, or an extremely learned composer, but in line with what I have studied and the rest of my knowledge, I would like to tell you a few things.
> 
> First, don't write ambiguously. How can you write 42 pages of music (didn't look at the rest of movements) and not write a single dynamic marking? Do you expect the orchestra to read your mind? Or are you just lazy? When you compose, you don't rely on the performer's ability to play your notes in the way he has learned to do so: you write everything for him so that everyone is going to play the same thing, otherwise, you are leaving your composition to chance, and thus no performance belongs to you (I know you disagree). There are hundreds of ways to play a note, and you need to write exactly each one how you want it. If you just write a black head with a stick, then that's just a poor suggestion, not a musical idea.
> 
> Second, if you haven't picked up an orchestration/instrumentation book yet, then do so. And if you have, then study them more in-depth. A great advice I can give you is that the more you know about each instrument, the more practical you will be when writing music, and the better your music will sound, because the players will be comfortable playing through the piece.
> 
> Third, why are you writing for orchestra? Why even write for anything more than one or two instruments at first? If you can't write 3 minutes of quality music for one instrument, how is it possible you can properly write a symphonic work? I feel like there's a lot of studying to do, you need to listen to thousands of more hours of music, from all styles, studying the scores, forms, everything. Honestly you've just started a palace from the roof, without even the required materials.
> 
> Finally: why do you compose music? Is it to please yourself only, other people? Do you want your works premiered in halls? Or perhaps you are content with the MIDI sound? Are you happy with your music? Does it move you? If you write music for yourself only, and don't want to have it premiered by other people, and you don't need it performed by physical instruments, and you are happy with your music, and get emotional listening to it: then all of the advice I gave you is meaningless. If, on the other hand, you want to create strong feelings in other people listening to your music: have them live a trascendental experience, then you are going to need to think and investigate, and most important of all, philosophize for long, long hours, and find at the end what separates works like Scriabin 4th & 5th symphonies and Piano sonatas, Mahler symphonies, Strauss' poems, Beethoven, Wagner, Penderecki, Berg, Bartok, all these giant composers whom we all know their names because thanks to them we are happier; what separates their music from others, what do they all have in common that the vast majority of the musicians throughout the centuries have agreed in glorifying them because they all have been moved by it?
> 
> I believe a very small part of being a composer is actually writing music. Since the last few months, I have begun to understand and think longly about why do I write music (or why do I like doing so), with what end/s do I do it, and how can I achieve these ends. After this hiatus without writing barely any music, I have slowly started to compose again, with a clearer path in my head, having asked myself these questions, and trying to achieve what I have found are my goals.
> 
> I hope this didn't sound pretentious in any way, I just have a very strong belief in everything I told you, and, on a last note, I would like to wish you best of luck.
> 
> I'm more of a lurker nowadays than a regular member, but if you take my advice, I will be glad to help you in any way I can, to the best of my possibilities.


Awesome post!


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## Capeditiea

I shall break this apart... but you do have some really interesting points. (Which is exactly what i wanted for a reply.) 
(hopefully the writing of this post turns out okay...)



Zeus said:


> Hello Capeditiea;
> First, don't write ambiguously. How can you write 42 pages of music (didn't look at the rest of movements) and not write a single dynamic marking? Do you expect the orchestra to read your mind? Or are you just lazy?


Does music always require dynamics? 
If the orchestra could clearly read my mind that would be amazing. 
Not lazy... I normally write things of this length in a week (with another non-classical-non-scoring program.) Which then i could slightly edit with audacity... it is just i haven't learned much on articulations. (right now i am studying a few and implimenting them on my next works.)



Zeus said:


> Second, if you haven't picked up an orchestration/instrumentation book yet, then do so. And if you have, then study them more in-depth. A great advice I can give you is that the more you know about each instrument, the more practical you will be when writing music, and the better your music will sound, because the players will be comfortable playing through the piece.


do you have any suggestions?



Zeus said:


> Third, why are you writing for orchestra? Why even write for anything more than one or two instruments at first? If you can't write 3 minutes of quality music for one instrument, how is it possible you can properly write a symphonic work? I feel like there's a lot of studying to do, you need to listen to thousands of more hours of music, from all styles, studying the scores, forms, everything. Honestly you've just started a palace from the roof, without even the required materials.


I write for an orchestra, because it is my forte. When I started working on composing several years ago, (non-classical) i realized it was easier to write for orchestra, and chamber music rather than solos or duets. (despite the fact i am a shut in.) I have done a lot of works. (but just saying that wouldn't influence folk on the fact on how they percieve this one work.) If you want to get down to it... listen to some of my non-classical works. (they are clear on how well i can right orchestric music. (in a way.)



Zeus said:


> Finally: why do you compose music? Is it to please yourself only, other people? Do you want your works premiered in halls?


...do i have to tell you my life story? because that would just be insanely long... let's just say... i have sacrificed everything to compose... (i did mention the fact i became a shut in.) Most of my (non-classical and classical) works are pseudo-chamber music because i didn't really have many folk who would listen. So it was... (a pause to include some thought on why i said was.) just for my self. I eventually do want my works to be premiered in halls.



Zeus said:


> Or perhaps you are content with the MIDI sound?


i write them. how the sound is percieved is up to the program playing them. (although i would like to influence that more.)



Zeus said:


> Are you happy with your music? Does it move you?


i wouldn't release it if i wasn't happy. i guess i could tell you a little something. (my 22 albums of non-classical music... they were all surviving tracks of numourous deletes and such. Primarily because they no longer moved me. Every song on there has been carefully selected and listened to hundreds or so times. (no joke) Plus my original inspiration on writing and studying music is only hinted in the album Liber CCCII final song "My Immortality Begins" Which to me humbled me of my own opinion of music, which further gained inspiration through my only Post-Mordem album... "Capeditiea" which at the time was the 67th album. It is a classical-jazz concerto grosso with some ambiant. I will never release that one because i want to write at the level that album in classical. It initially inspired me to want to learn to write scores, and to read music. So since Dec. 2017 i have dived into studying much classical music, learning different theories, and of course finding some that i have not known already existed.



Zeus said:


> what separates their music from others, what do they all have in common that the vast majority of the musicians throughout the centuries have agreed in glorifying them because they all have been moved by it?


i feel this question is rhetorical and also relative to each individual depending on their tastes.



Zeus said:


> I'm more of a lurker nowadays than a regular member, but if you take my advice, I will be glad to help you in any way I can, to the best of my possibilities.


Thank you. Both you and Phil have been a great help upon my travels. :3 i am a quick learner. 

---edited to add 
 yay, the quote thing worked.


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## Capeditiea

Phil loves classical said:


> I think Cap, that similar to Billy you called the work a symphony which doesn't fit the mould, the tempo was one thing. Zeus had one comment somewhere I think is quite relevant, which is not to write to fit a certain form, but to write as what is appropriate for the piece. Debussy and Webern never wrote symphonies or concertos. My honest opinion is if you condense the form, it would be stronger.


No, i am aiming for a symphony here... though i could end up pulling it, and simply editing it by making Op008 Symphonic Poem in F# Major "Chaos"? (is that what you are meaning?


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## Capeditiea

:3 so instead i shall articulate all my works thus far.  Which so far i am nearly complete on editing and articulating the first movement of Op001 String Quartet No. 1 in F Minor. 

 now that i have the power of articulation in my hands. i can simply rule the world.


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## Vasks

OK. I studied the score of Mvmt 1 of the symphony. Here’s the big things I saw that must be addressed if you are to be taken seriously by trained orchestral conductors and performers. I can address smaller issues that need attention, but not now. If you choose to blow me off then you really don't care about being a serious composer.

1) First, almost nobody composes in the key of F# major. It’s a challenging key for all but the best. And since the odds are slim that the very best will want to play it, that means nobody else will tackle it.

2) If you ask for 2 of all woodwinds, then you don’t ask for 4 bassoons (you ask for two normally). No average orchestra has 4 bassoon players at all. 3 is tops with the third being able to switch sometimes to contrabassoon. The only time you see 4 bassoons are in the gigantic scores of Richard Strauss, Mahler, etc.

3) Do not designate how many strings of each instrument you want. The orchestra will have their own number and often it is less than what you asked for and it varies from orchestra to orchestea. The only time you designate the specific amount is if you are dividing them somewheres in the piece into that number.

4) You clearly do not understand timpani. On page one you use 5 different pitches. But only the three lowest timpani heads can play 3 of your 5 notes. A head can only play one pitch at a time within a limited range. Then you must have some resting time for them to change to another note that is in that head’s limited range. Please teach yourself more about this. It’s easy to research.

5) The next item applies to all winds and brass parts, but I am only using the flutes as my example. So, you say 2 flutes. While sometimes you will want them to play the same exact notes (which is designated with the marking “a2”), most of the time the Fl. 2 has its own notes and even sometimes its own rhythms that the FL. 1 does not have. WHY? Because it’s two seperate PEOPLE who wish to contribute their own voice into your mix. No player likes playing throughout a piece just “doubling” the pitches and rhythms of somebody else.

6) You really do not understand the issue of range and tessitura for all the orchestral instruments. You keep each one almost exclusively on its staff. All of them want and need to soar much higher at times or sink low now and then. By keeping everybody on staff you have no true orchestral color (everything is a dull gray) and the players themselves will be bored by your limited range writing.


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## Capeditiea

Vasks said:


> OK. I studied the score of Mvmt 1 of the symphony. Here's the big things I saw that must be addressed if you are to be taken seriously by trained orchestral conductors and performers. I can address smaller issues that need attention, but not now. If you choose to blow me off then you really don't care about being a serious composer.
> 
> 1) First, almost nobody composes in the key of F# major. It's a challenging key for all but the best. And since the odds are slim that the very best will want to play it, that means nobody else will tackle it.
> 
> 2) If you ask for 2 of all woodwinds, then you don't ask for 4 bassoons (you ask for two normally). No average orchestra has 4 bassoon players at all. 3 is tops with the third being able to switch sometimes to contrabassoon. The only time you see 4 bassoons are in the gigantic scores of Richard Strauss, Mahler, etc.
> 
> 3) Do not designate how many strings of each instrument you want. The orchestra will have their own number and often it is less than what you asked for and it varies from orchestra to orchestea. The only time you designate the specific amount is if you are dividing them somewheres in the piece into that number.
> 
> 4) You clearly do not understand timpani. On page one you use 5 different pitches. But only the three lowest timpani heads can play 3 of your 5 notes. A head can only play one pitch at a time within a limited range. Then you must have some resting time for them to change to another note that is in that head's limited range. Please teach yourself more about this. It's easy to research.
> 
> 5) The next item applies to all winds and brass parts, but I am only using the flutes as my example. So, you say 2 flutes. While sometimes you will want them to play the same exact notes (which is designated with the marking "a2"), most of the time the Fl. 2 has its own notes and even sometimes its own rhythms that the FL. 1 does not have. WHY? Because it's two seperate PEOPLE who wish to contribute their own voice into your mix. No player likes playing throughout a piece just "doubling" the pitches and rhythms of somebody else.
> 
> 6) You really do not understand the issue of range and tessitura for all the orchestral instruments. You keep each one almost exclusively on its staff. All of them want and need to soar much higher at times or sink low now and then. By keeping everybody on staff you have no true orchestral color (everything is a dull gray) and the players themselves will be bored by your limited range writing.


1. I want it in F# Major for Satirical reasons. plus one of my favourite symphonies is in that chord... (i am a fairly difficult person so why not make my first symphony difficult?) (the parenthesis is a new idea that spawned reading that.)

2. It makes sense. I will probably end up just having one of each. (and adding a trombones and a tuba.) Since there are a lot of spectacular parts. 
though i will have as many horns as there are of the others (which would be 6 Horns.)

3. I do want violin I to have double+1 the amount of players as Violin II (for the effect i am putting off. (plus Violin II doesn't have as much going on but as a support.) (also the partenthesis here are new developments.)

4. I figured that marking (5) for the timpani would mean to have 5 drums on stage, like a drumset kinda thing, since i often see sets of four being played... (but i guess that is just part of my own delusional mind.)

5. That grants me a little more insight on things, plus expands my horizons.

6. (i am currently working on giving things more colour.) The photo didn't start with colour... it started with various shades of grey, then browns... then faded colour, then colour, then HD.  (i wanna skip to Colour while i am revising things. as to not make the same mistakes as before.)

*nods, i will let everyone know when i finish editing and articulating Op001-Op008  which also may have a different Opus amount at completion.


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## Vasks

Phil loves classical said:


> I think what you called "controlled disonance" and chaos is in fact a technique called polymodality, as I suspected.


With the exception of three accidentals used, all pitches are exclusively found in the key signature. This technique is called "pandiatonicism"


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## Phil loves classical

Capeditiea said:


> No, i am aiming for a symphony here... though i could end up pulling it, and simply editing it by making Op008 Symphonic Poem in F# Major "Chaos"? (is that what you are meaning?


Ya, sort of. A symphony's movements have larger contrast in mood, tempo and form. The first movement has more argumentm, not a collection of themes as you have it. I started composing something for orchestra on MuseScore, and I definitely won't call it a Symphony unless it is warranted


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## Capeditiea

Phil loves classical said:


> Ya, sort of. A symphony's movements have larger contrast in mood, tempo and form. The first movement has more argumentm, not a collection of themes as you have it. I started composing something for orchestra on MuseScore, and I definitely won't call it a Symphony unless it is warranted


:3 i am instead gonna try something interesting. (it will be a secret till it is complete.) *nods, currently working on a very strange String Quartet in F Minor... only two movements both subsequentually slow... and slower... There really is a personal story behind it... i won't publically say...


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## E Cristobal Poveda

Capeditiea said:


> 1. I want it in F# Major for Satirical reasons. plus one of my favourite symphonies is in that chord... (i am a fairly difficult person so why not make my first symphony difficult?) (the parenthesis is a new idea that spawned reading that.)
> 
> 2. It makes sense. I will probably end up just having one of each. (and adding a trombones and a tuba.) Since there are a lot of spectacular parts.
> though i will have as many horns as there are of the others (which would be 6 Horns.)
> 
> 3. I do want violin I to have double+1 the amount of players as Violin II (for the effect i am putting off. (plus Violin II doesn't have as much going on but as a support.) (also the partenthesis here are new developments.)
> 
> 4. I figured that marking (5) for the timpani would mean to have 5 drums on stage, like a drumset kinda thing, since i often see sets of four being played... (but i guess that is just part of my own delusional mind.)
> 
> 5. That grants me a little more insight on things, plus expands my horizons.
> 
> 6. (i am currently working on giving things more colour.) The photo didn't start with colour... it started with various shades of grey, then browns... then faded colour, then colour, then HD.  (i wanna skip to Colour while i am revising things. as to not make the same mistakes as before.)
> 
> *nods, i will let everyone know when i finish editing and articulating Op001-Op008  which also may have a different Opus amount at completion.


As primarily a timpanist in an orchestra, timpani of a 5th note range do not exist, or if they do, they are very rare. I also would agree with what Vasks said. If I were handed this timpani part, I don't know if I would even bother with it. You really need to learn more about the mechanics of each instrument, I believe.

also, making a piece difficult for the sake of being difficult only works if the musical content is stellar. A musician would not want to play a difficult piece that is poorly composed.

I really do think you should try writing solo or chamber pieces before moving to orchestral pieces, since you don't seem to currently have the composing ability to make an orchestral piece stand out beyond swamps of sound.


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## Sekhar

I took a composition class in which real performers (not software) rendered each of our compositions in class. Some of these folks were stellar; others were just students taking an ensemble class. The number one lesson I learned from the class was not on composition per se, but on the importance of writing and notating music so it is as easy (everything from whether notes are tied correctly) and clear (like are all the dynamic markings shown?) to read as possible while meeting your creative goals. Except for midterm/final, the performers had little time to prepare, so readability came across very clearly. Difficult-to-read scores ended up being performed badly by average players (and therefore failing) and sometimes even being altered by the better players to simplify/disambiguate!

My point is: IMO you NEVER write a score just for the sake of making it difficult: bad players will mess it up and good players will hate it. Many in our class, being newbie composers, did exactly that - writing (unnecessarily) complex music was a way for us to show we knew what we were doing. Kind of like how the school kid who came home and asked his dad: "We learned a new word today. I'll let you surmise what it is. I'll give you three surmises."  And specifically on the key signature, I feel you need to have a really good reason for picking F# major if you could easily go to an F or G while meeting your creative goals and keeping with ranges, particularly in today's world of equal temperament.


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## Phil loves classical

Everyone is having a go on poor Capeditiea :lol: try to master a couple of voices and counterpoint. Regardless of size, scale and style (even in Asian music), it is essential. I hated the idea and the word, thought maybe it doesn't apply to modern and stuff, but realized as I was going along that you can't ever escape from it. It is what separates good from bad regardless of form. No more on this thread from me


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## E Cristobal Poveda

Capiditiea, do you think you could try streamlining your posts? It's a bit difficult to follow what you're trying to say sometimes... anyone else have that problem?


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## Capeditiea

E Cristobal Poveda said:


> Capiditiea, do you think you could try streamlining your posts? It's a bit difficult to follow what you're trying to say sometimes... anyone else have that problem?


Streamlining? explain a little more? :O (just woke up...)


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## Capeditiea

In regards to the numerous attempts to get me to change the key... it will not happen. I have a reason why i am doing it in F# Major. :3 And it is steller... (once i get the articulations written) 

With the fact of this, i have done many works... just not in classical... so really i am studying various things... and taking far more time than with my non-classical works. So please be patient on what you have to say... because i realize now that articulations (slurs primarily) help get the message sent out mor effectively. 

Now, my music is dissonant... i want it to be. That is just how i am. (incase you haven't figured that out with my personality.) 

The reason i am making my first symphony in F# Major is because i am rare and difficult to understand. which is primarily the reasons i have very few friends and single. Which makes me feel happy since i can have more time to work and rework on these compisitions. 

I have done a few chamber works.

The Previous List
Op001 String Quartet No. 1
Op002 Symphonic Suite "Then a New Beginning"
Op003 Quintet for Piano, Timpani, Viola, Cello, and Oboe
Op004 Solos for Competition (which are only on my musicaneo site.)
Op005 Cello Concerto No.1 in Bb Minor "The Monster" 
Op006 Septet "Yearning for the World of Music" (which is personally my favourite work, but would definately need more articulation)
Op007 Piano Madness (improv recorded in 2016)
Op008 Symphony No. 1 in F# Major "Chaos" 


but now, that i have learned the effectiveness of articulations. most of those will change
Op001 String Quartet No. 1 in F Minor 
Op002 Symphonic Poem in Adagio "Then a New Beginning"
Op003 "Yearning for the world of Music" (not sure how many instruments.)
Op004 Cello Concerto No. 1 in Bb Minor "The Monster" 
Op005 Symphony No. 1 in F# Major "Chaos" 

I ask again. Please abstain from relpying to this... :3 i will however Make a new post when i finish the String Quartet. simply titled "The Forum for E.S. Capeditiea's Works"

I know they are steller because in my delusional mind, i can make them steller. even with out articulations... so i am expressing what goes on in my delusional mind more effectively.


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