More info at http://www.harmonybuilder.com
More info at http://www.harmonybuilder.com
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She wasn’t sure how long she had been waiting, but it was starting to seem like he wasn’t going to show. She turned to walk away when she felt a familiar hand touch her arm from behind ‘Sorry I’m late’ she turned to face him, smiled and said…
I am not the artist of the artwork http://www.onsecrethunt.com/wallpaper/wp-content/uploads/101/Beautiful-Girl-Anime-Scenery-Desktop-Wallpaper.jpg
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This track is another one based off an earlier composition that I originally made in Finale. I took the basic theme and expanded on it, and I think it turned out pretty well.
I’ve been posting a lot of original compositions lately, but I’m currently working on some more remixes. Expect another ShadowBeatz remix in the near future 😀
As always, I welcome comments, criticisms, and suggestions for future work.
Like, comment, subscribe, and stuff,
Naoya Sakamata[PIANO music Channel]
♫Song Title & Download Link♫
Op.1 Embers Of The Soul
Op.3 Peace Infection [MV] https://youtu.be/CikmNiQAbzk
Op.4 Determination Of Someone [MV] https://youtu.be/1tMqU0Av01E
Op.5 Hide Hostility [MV] https://youtu.be/VVL2Bs-IqJY
Op.6 Cold Pulsation [MV] https://youtu.be/iG47Is1keX8
Op.7 Afreet [MV] https://youtu.be/Cq-MnNziQ5A
Op.8 Embodiment [MV] https://youtu.be/_pnzOulH2YU
Op.9 Era sleep
Chinese Music for Acupunture by EduardoArenas is licensed under a Creative Commons Licence.
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Music Composition – How To Use Geometrical Inversions To Create Contrasting
Chordal Textures (part 2)
Hello this is Mike Hayes and I’d like to welcome you to our video
on music composition;
On this video we’ll look at some of the creative ways we can
approach the subject of writing music, the main focus of this
video will be about geometrical inversions.
So before we get right into the actual writing of the music I’d
just like to explain the concept of geometrical inversions when
we’re doing music composition. geometrical inversions is a
thematic development tool. it’s a way of presenting the one
musical idea four different ways; as you experiment with the
techniques and the concepts that I’ll present in this video
you’ll find that certain inversions of your melody will be more
expressive or have a more interesting character.
To show you how this works I’m just going to ask you to image
that this line represents the pitch element of my melody and
underneath here I’ll mark in the rhythmic pattern, so this is the
original presentation of my melody, it’s just going to be a one
bar melody at the moment; so we’ll call this section “A”, this is
the original presentation of our theme.
The “B” inversion of this melody would be to play the
exact same thing only backwards, like this, this would be the
pitch element and the rhythmic element would be presented like
this … so this is the “B” inversion.
The “C” inversion of the melody would be the same as the original
only this time it would not only be backwards but it would be
upside down; like this. here is the rhythm I’m marking in, so
this would be inversion “C”; it’s essentially like we’re looking
in a puddle of water and we’re seeing a reflection, the “C”
inversion is a reflection of the “B” inversion. And finally, the
“D” inversion of our melody would be exactly the same as our
original melody in the “A” position only this time it would be
upside down, so this is how it would look … and just marking in
our rhythms again, and as you can see the “D” inversion is a
reflection of the original theme, the “A” section.
O. K, now what I’ve done I’ve transferred our original sketch
over on to music paper so my first theme is just a very scale-
like theme, I’m starting on a C note, D and then E that’s the
pitch element and if you’ll recall we had this rhythmic pattern
Now, to write in the “B” inversion it’s just simply going to be
the exact same original theme only backwards. So we’ll start by
writing in a one beat E, followed by a one beat D and then
finishing on a two beat C. O. K I think it’s pretty easy to see
what I’ve done there but it will give you a different melody. Our
next project is to show you how we can workout how to get an
exact reflection of our original theme when we invert the melody
in the “C” position and the “D” position. Now, to find our exact
reflection in the melody for our inversion “C” and inversion “D”
I’m going to begin by marking in our axis point the C, and I’m
actually going to work on the “D” inversion firstly it’s just a
little bit easier to show you that first.
So, the note C will remain exactly the same for the “d”
inversion, however, what I’m wanting to do now is measure how far
away is the second note in our melody from the note C and if I go
down to the keyboard here I can see it’s a distance of two
semitones, so to find the mirror image of the melody in the “A”
section what i do I measure down two semitones from C and that
would give me the note Bb; there’s my C
And now I’m going to mark in the note Bb, the next note in my
original melody is a distance of one, two, three, four semitones
from the keynote C .
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This was my second attempt at a composition for GCSE Music, and I scored 28/30 marks.
It was made using Sibelius 6.
You could almost think of it as a formula:
Motive + Motive = Phrase
Motive + Something Else = Phrase
In case of longer or more complex phrases (usually built up of small motives):
Motive + Motive = Subphrase
Subphrase + Something Else = Phrase
Phrase + Phrase = Period
Period + Period = Passage/Section (I like to use the word section)
Section + Section = Getting into whole piece territory, but we’ll get into macro structure later.
By the way, “To The Moon” is a great game. Why not buy it? http://freebirdgames.com/to_the_moon/
Continuing musical explorations in a journey toward the outer limits of polychromatic harmonic interactions, while maintaining a quasi-tonal orientation for conventional musical reference, as a point of departure.
This composition attempts to convey a sense that to the 3 spatial dimensions of length, width and depth, can be added a 4th dimension of auditory spacetime. That is, of duration and the evolving expression of multidimensional shapes and other qualia (immeasurable phenomena) accessible only through auditory perception.
Aural resolution: 106 pitches per octave (106ET)
more information: dolorescatherino.com
Polychromatic score and audio files available for download on my website.
The promised links:
This is the inagural video for the series, so expect the bumps (editing, video and sound issues) to be smoothed out over the course of time.
Some more pieces to check out for tension and release:
More Ligeti: http://youtu.be/GrVagXdfnbc
Oingo Boingo: http://youtu.be/sROhhid5CB4
Rusko (Netsky remix): http://youtu.be/dD40VXFkusw
Reich (minimalism): http://youtu.be/ZXJWO2FQ16c
Tension and release are in pretty much everything.
Itunes / Facebook
Song – The Absent Heart (c) All Rights Reserved
Composed & Produced by Peter Gundry
Please SUBSCRIBE, LIKE and SHARE if you enjoyed, thank you =)
Final Version will be on a future album or get it early on Patreon
If you would like to make a donation to help support my music, here is the link =) http://petergundry.wix.com/petergundrycomposer