My composition - I hope

[TheRach]

Yeah, I wrote this a really long time ago, and this is just a few bars I extracted from it. I showed it to Comme and he said that he thinks that he's heard it somewhere before. I was like oh ****.
I'm wondering, is this original, or did I hear it somewhere and write it and thought that I wrote it?
BEWARE
NO HARMONY...AT ALL.

http://therach.chopinmusic.net/composition2.mid

Yo, I just want to see if this is really composed by me or did I hear this somewhere and write it down and thought it was mine!

[Philip Daniel]

Yeah, I wrote this a really long time ago, and this is just a few bars I extracted from it. I showed it to Comme and he said that he thinks that he's heard it somewhere before. I was like oh ****.
I'm wondering, is this original, or did I hear it somewhere and write it and thought that I wrote it?

BEWARE
NO HARMONY...AT ALL.

http://therach.chopinmusic.net/composition2.mid

I don't think that I've ever heard this before . To me, it sounds like a wandering and listless figure. Many introductions to paraphrases, transcriptions, variations, and other 19th century virtuoso pieces begin in this way, in double octaves . So, to me, it gives the impression of being an introduction or prelude to a much larger and more complex piece. Since it sounds like only a beginning, and not a complete piece, I cannot rate it . The ending is much better harmonized, however, although it is quite monotonous in lack of change of harmonic root and the voice-leading isn't perfect.
Best Wishes,
Philip Daniel

[TheRach]

Lol I only put it in double octaves because I couldn't think of any other way to harmonize it. And the ending...Well it's just major and minor chords, I mean, if you saw the score, you'd see how unbelievably bad harmony it is. Actually I'll upload it here. It's a pdf. I'd save it as a Sibelius Scorch file, but I'd just be making it more complicated for some people who may not have downloaded the plug-in.
Edit: yeah i removed da link
And by the way, this isn't the complete composition I wrote. This is just a bit taken out of the middle and I just quickly thought up some way to end it. If I can find the original file, I'll post it.

[citrine_peridot]

kindergardenish~~~~~~~~~~

[TheRach]

kindergardenish~~~~~~~~~~

Because of the melody itself or because of the fact that a bad composer wrote it without any real harmony?

Edit: Or both?

[Chozart]

both lol

[TheRach]

I thought it was kindergardenish since a 5 year old wrote it.
Anyways, I just wanted to know if this theme was original or not.
It seems that it it is not.

[Debussy]

There are quite a few parallel octaves in this piece, and you need to avoid that as much as possible. At all times, avoid parallel octaves and parallel fifths.

You need to have more of a melody in your piece, as well. I do like the ending with the rest and then your four chords.

Eighty-one.

[TheRach]

It seems that everyone except for Philip Daniel is understanding what I am trying to do here!
Respec to Philip Daniel for that

Time to edit my first post.

Edit: By the way, Debussy, thanks for the advice.

[Comme_le_Vent]

There are quite a few parallel octaves in this piece, and you need to avoid that as much as possible. At all times, avoid parallel octaves and parallel fifths.

You need to have more of a melody in your piece, as well. I do like the ending with the rest and then your four chords.

Eighty-one.

it hilarious that you like guns'n'roses, and other rock bands - because you do realsie that their whole music is based upon parallel 5ths and octaves...


rach, u misunderstood me, i thought this was by someone else cos it seemed too good for a 5 yr old!!

ive never heard it before!


and by the way - ignore THIS debussy's advice - and take the real debussy's advice and use parallel 5ths etc as much as you like(exactly what claude did )

the rule of composition is - there are no rules

[Philip Daniel]

There are quite a few parallel octaves in this piece, and you need to avoid that as much as possible. At all times, avoid parallel octaves and parallel fifths.

You need to have more of a melody in your piece, as well. I do like the ending with the rest and then your four chords.

Eighty-one.

it hilarious that you like guns'n'roses, and other rock bands - because you do realsie that their whole music is based upon parallel 5ths and octaves...


rach, u misunderstood me, i thought this was by someone else cos it seemed too good for a 5 yr old!!

ive never heard it before!


and by the way - ignore THIS debussy's advice - and take the real debussy's advice and use parallel 5ths etc as much as you like(exactly what claude did )

the rule of composition is - there are no rules

Comme, the "rules" aren't so much rules as they are theoretical guidelines that can be used freely and broken freely within reason. A composer builds upon the common practice of past composers (i.e. music theory) and creates his own rules from this sturdy foundation .

[TheRach]

Yes, once again. What Philip Daniel said.
By the way, I'm looking at that music theory website you gave me a while ago. It's really helpful, especially the exercises.
Respec to Philip Daniel

[Philip Daniel]

Yes, once again. What Philip Daniel said.
By the way, I'm looking at that music theory website you gave me a while ago. It's really helpful, especially the exercises.
Respec to Philip Daniel

You should still follow the rules as much as humanly possible while only breaking them when necessary . Anyhow, ambiguities in voice-leading are common in more virtuosic pieces, for expressive purpose .

[Comme_le_Vent]

NO PHILDAN!

you are wrong this time!

you CAN follow the rules!, but noone SHOULD follow the rules unless they want be be a derivative retard


im afraid your lack of wisdom is inevident

[Philip Daniel]

NO PHILDAN!

you are wrong this time!

you CAN follow the rules!, but noone SHOULD follow the rules unless they want be be a derivative retard


im afraid your lack of wisdom is inevident

My lack of wisdom? All I meant was that true musical geniuses follow the most fundamental theoretical rules in harmony and voice-leading while building upon them to achieve new effects. Music theory is a continually changing science, you see, and the so-called rules of the past are compiled from a study of the compositions of the time; while some "theories" in musical composition stay in use, others are replaced by more feasible ones as time proceeds. Music theory is not rigid; in fact, it is very flexible and composers such as Bach, Haydn, and Berlioz have stayed within its boundaries while achieving freedom, and that is the test of real genius.