I am looking for anyone to put my lyrics to music/vocals.
For a final in one of my college courses we have to write lyrics to a song, the problem is my professor requires the lyrics to be put to original music. Since I don’t know the first thing about any instruments and have a below average singing voice (and don’t have any musically-savvy friends), would anyone be willing to help me out? It doesn’t have to be perfect (or even that good) since I don’t get graded on anything past lyrics, so please don’t feel you would need to spend much time on this. I linked the lyrics below. Thanks for any help you talented people can offer!
Feel free to make this song into any genre, tempo, etc. that you feel fits it. I have no clue what direction to take this, so have fun with it! I appreciate all styles!
I hope you really do appreciate all styles as you claim, Carlysole. If that’s the case, then I’ve got you covered. Oh, and I took some liberties with your words to make them fit the meter. I hope you’re cool with that.
This week I revisit my Adagio in E minor to find out how instrumentation affects the music. This piece of music was written specifically without a set instrumentation, so the writing is predicated upon the conventions of counterpoint and harmony without regard for technical considerations. As a result, many different combinations of instrumentation are equally plausible, although some are found to be more tasteful or practical than others.
If you wish to skip to a particular example in the video above, here are the direct links:
One of the most popular requests that I see has to do with fugal writing, so this week I have a time lapse of a fugue for you that shows the writing process. I spent the first two pages here working out my subject and deciding how to approach the countersubject. The first draft of the fugue takes up the next three pages. You’ll find the finished fugue with only a few minor edits down below. Here are some of my tips for fugue writing.
Spend some extra time making sure you have a really nice subject before you do anything else. An episode is easy to fix, but a problem in your subject is pervasive.
Leave at least one nice big interval in your subject so that you can fudge it a little bit when you have to transpose the subject later.
Melodic contour catches the ear more than surface level details. Try to write consistent contour.
Don’t forget to spend time establishing the tonic key before you modulate and reestablishing it when you approach the end. Seriously, write more bars in the tonic than you think you need.
Map out appearances of the subject and countersubject first. Worry about episodes later when your framework is in place.
Today’s challenge is from Charlie over at composerquest.com. The Amadeus Chamber Symphony is looking for new works for their upcoming Christmas concerts and has asked for arrangements of Christmas carols for chamber orchestra and choir. They also want the audience to be able to sing along.
A score like this takes a bit more writing than you might think. Even though it’s only about three minutes long, the texture is quite thick. Nonetheless, the process is much the same as writing for smaller ensembles. It starts with reimagining the well-known tune and getting away from the rigid notions of harmony and accompaniment that have over the years come to be so strongly associated with this melody, at least so far as I’m able without rendering the piece incomprehensible. I also wanted to avoid reapeating previous treatments of the tune that I’ve written in years past. After the challenge was issued, I sat on this for a few days just to try to get to know the melody as its own musical entity and consider possible treatments before I began writing out ideas. This step is really necessary, especially since the tune appears not once but several times throughout the course of the work and it would be dreadfully boring if I were to treat it the same way each time.
Here’s the score. Parts are also available on request.
Speed painting is a graphic arts practice which is oriented toward the quick creation of rough images within a limited amount of time. Speed painters typically focus on elements like composition, form and texture to convey the sense of an image without fiddling excessively with details. In that spirit, I gave myself a time limit and set out to write a complete piece of music really quickly.
It seems redundant this time to include a score and recording since they’re both there clearly in the video. If you wish to skip directly to the end result, this link will take you there.
I came across a call for scores that read in part:
Works must be for open/unspecified instrumentation- scores will not be considered if they require specific instrumentation
Works must be for a minimum of three and maximum of fifteen players
There is no maximum or minimum duration, but preference is given to works between 5 and 15 minutes in length
Works may include fixed media
Composers are strongly encouraged to include links to some sort of audio realization (MIDI, live performance, etc.) of their scores.
Never mind the apparent inconsistency between the first requirement and the fifth. When I saw this my mind went immediately to the Art of the Fugue which, although it consistently fits within the hand, was never assigned one instrument or another. I could go on endlessly about that work since it was the basis for my second symphony, but others have covered that ground much more knowledgably than I could so I’ll spare you for now.
This falls into a category called absolute music. This is music that deals with music and nothing else. If we were to take that a step further, we could say that this is music that refers only to itself and nothing else, even though with that statement we begin to tread on thin ice, since I’m forced to admit that music of this sort is not possible without acknowledgement of previous musical texts and without the body of history both musical and theoretical behind it. Instead of setting a text, scoring to a picture, describing some scene, some scenario, some pastiche or reflecting on some work of poetry or prose, rather the only thing that had ought to influence absolute music is the sound that it makes, the organization of the notes across the page, the writer’s understanding of the nature of music and of sound, his sense of aesthetics and pure compositional initiative. To put it simply, the music is written as it is because that’s how I want it and for no other reason.
This week’s challenge is writing a breakbeat. I took a drum sample from Batavia’s “The Chase Scene” as played by Kurt Zemlicka and reassembled it to make the groove that you hear here. You should take a peek at his latest project, Beautiful Noises which he released earlier this year under the name Smokestacks & Robots (Robots) Robots along with Ricky Spenner. I should also say that it was loads of fun getting to meet BBoy A-Di and his crew to make this video. Many thanks to them.
As for the music itself, I had some difficulty in characterizing breakbeat because it comes in so many varieties, but the music fairly reliably occurs within a pretty narrow range of metronome markings — I used 134 bpm here — with a consistent kick drum in a pattern I’ve seen described as four on the floor and often with an emphasis on the and of two.
Here’s some sheet music for your perusal. As always, you can hear the track on soundcloud.com.
This challenge is to write something in a less common meter than, well, common meter. In the past I’ve done plenty with the more conventional options — just last month I showed you guys nine pages in 9/8 — so I decided to stretch myself a bit and try 17/8. I promise, the meter isn’t half as scary as it seems. You can see in the score I immediately simplified that to 7/8 + 5/4 and if you want to get even deeper into it, it’s really just 2/4 + 3/8 + 3/4 +2/4. Not so bad, really. The difficulty with that level of rhythmic complexity is that the ear struggles to find a pattern, so to help I focused on trying to emphasize the downbeats, sometimes shying away from syncopation and using anacruses to guide the ear toward the stronger beats. Interestingly, it turns out that since 17/8 is quite close to 16/8 it seems quite like 4/2 if you’re not really paying close attention. It’s only when you try to tap your toe to the beat that you find your ear has misled you.
Here’s the lead sheet. As always, you can listen to the track at soundcloud.com.