Does anyone ere write music?

[ComradeRed]

K, so I need a little help with my opera. I am writing about the love of Dulicnea, but I don't know exactly how it should be (tempo wise and key signature). HELP! Thanks comrades!

[monkeydust]

I do write music but you'll really need to be more specific than that I'm afraid.

I wouldn't have thought the key signature mattered a great deal, assuming you've already chosen whether to start in a major or minor key, or a mode.

[hawarameen]

it should be loud, very loud have fat people sing and make it boring

[Rastafari]

Moving this to music, maybe you can find more help there.

[Purple]

"...oooooooooh the rooooooses are soooooooooooooo fine..."
etc etc etc

[ComradeRed]

Well, I am writing bout how Don quixote loves dulcinea, and all that jazz. But I don't know how the key signature should be; and whether the tempo should be fast(er) compared to the begining (it starts tempo 20 quater notes per minute (or for those who don't know every three seconds is one quarter note)).

[Danton]

Come on, seriously.. How the fuck is anyone around here going to know how to write a mother fucking Opera?

[Comrade BNS]

wouldn't have thought the key signature mattered a great deal, assuming you've already chosen whether to start in a major or minor key, or a mode.

tut tut tut!

Each key has a distinct timbre and tonal qualities, if they didn't what the hell would be the point of having varied keys?

Since you are writing a Love opera, I suggest D major or B major for key timbre and qualities. Also, if you intend on doing a more "classical" form of opera, i suggest listening to Mozart's Horn Concerto No. 3 (particularly the famous rondo from this) as the tempo and rhythm are quite suited to operatic styles and have been modified for operas before.

Comrade BNS

[Danton]

:o

[Comrade BNS]

Originally posted by [email protected] 18 2004, 09:53 AM
:o
:huh:

?????

Comrade BNS

[RedAnarchist]

You know a little too much about this BNS.... :blink: :lol:

[Comrade BNS]

Originally posted by [email protected] 18 2004, 10:05 AM
You know a little too much about this BNS.... :blink: :lol:
:lol:

yeah I wish! in the scheme of things I know bugger all! I know the basics of writing music, and elements of style and their relative modes of composition, but thats about it in terms of knowledge in that field goes...although future opportunities will hopefully yield greater affluency in this area

Comrade BNS

[monkeydust]

Each key has a distinct timbre and tonal qualities

Of course, though there's not a 'generally accepted' view of the feeling each key conveys, in fact much of it is in the 'eye (actually ear) of the beholder'.

Besides, ComradeRed's choice of keys may be limited by scope of the instruments he is writing for.


if they didn't what the hell would be the point of having varied keys?

For modulation.

[Comrade BNS]

:lol:

sorry but you were just subtley and unconsciously agreeing with me!


there's not a 'generally accepted' view of the feeling each key conveys,

Yes sir/madam I do believe there is. A minor, the Key of sorrow and lament, and is (with very few famous exceptions) THE key of unrequited love songs. I'm sure if you transoposed a mournful song in A minor to one of its related keys it would have a very different tonal quality and effect!


Besides, ComradeRed's choice of keys may be limited by scope of the instruments he is writing for.

Key choices are never limited by this. If writing for a transposing instrument you need only write the score in the score's key and then transpose relevant parts appropriately. Ie. if the opera was in D major, the written key for the horns would be A major, etc. etc...



if they didn't what the hell would be the point of having varied keys?



For modulation.

:lol:

and yes, why modulate? because each key has different qualities and moods associated with it, so a change of key often relflects a change of mood or meaning in a piece. In many of Bizet's works, he will often move from A minor, to D minor, changing the piece's mood from sad and overtly lamenting to quiet and reflective.

Comrade BNS

[monkeydust]

Yes sir/madam I do believe there is. A minor, the Key of sorrow and lament, and is (with very few famous exceptions) THE key of unrequited love songs.

Bah...not in my village.

A minor's particulalrly common simply because it's easy to write with, if you're composing on a piano.

There's no real consensus of what feeling each key conveys. Of course there's broad agreement, minor will invariably tend to sound sadder than major, nethertheless, it really is largely a matter of personal preference.

Many composers for example may convey a certain feeling without using a diatonic key at all. Impressionist composers such as Debussy or Ravel were never constrained by what people commonly considered to be the 'chosen' keys for certain situations.


Key choices are never limited by this. If writing for a transposing instrument you need only write the score in the score's key and then transpose relevant parts appropriately. Ie. if the opera was in D major, the written key for the horns would be A major, etc. etc...

It certainly can be limited.

A singers voice, for instance, is always limited in range. If a composer wished to write a high A (octave in A major) they may find themself unable to do so.

However, if they were writing in F, for example, it may be relatively easy to achieve a similar effect.

Moreover, certain instruments (very rare today) can only play selected notes. Some older brass instruments can only play the harmonic series and are thus somewhat limited in he scope of their range.

[Comrade BNS]

Bah...not in my village.

A minor's particulalrly common simply because it's easy to write with, if you're composing on a piano.

There's no real consensus of what feeling each key conveys. Of course there's broad agreement, minor will invariably tend to sound sadder than major, nethertheless, it really is largely a matter of personal preference.

Many composers for example may convey a certain feeling without using a diatonic key at all. Impressionist composers such as Debussy or Ravel were never constrained by what people commonly considered to be the 'chosen' keys for certain situations.

Ok i don't want to be offensive or turn this into a BDC (Big Dick Competition), but talk to any major composers for film of media etc... (Hans Zimmer and the like) and they will tell you "This Key for this situation"...of course there will always be exceptions to the rules, as I'm sure you're aware there always is in music.


It certainly can be limited.

A singers voice, for instance, is always limited in range. If a composer wished to write a high A (octave in A major) they may find themself unable to do so.

However, if they were writing in F, for example, it may be relatively easy to achieve a similar effect.


A vocalists range is very different to Key....and you will find it extremely rare that a composer will right to a particular individual vocalists range of preference......if they can't sing it, they just get someone who can. Remeber Key is not related to range. Keys are patterns of chromatic interventions on the base key (C major) in order to produce the series of Tones and Semitones which forms the basic patterns of Major and minor scales and modes.


Moreover, certain instruments (very rare today) can only play selected notes. Some older brass instruments can only play the harmonic series and are thus somewhat limited in he scope of their range.


Yes, not even an issue today, so kinda irrelevent.....but even in Mozart's time, the horn (the most troublesome brass instrument to get certain ranges out of) could without to much difficulty be manipulated to get certain notes by adjusting your daffle (right hand inside the bell) position.... I know from experience as I am a Horn player....it's a pain in the ass these days, but still part of the curriculum. And again,range is not an issue....if you need C 2 octaves above middle, give it to the flutes or upper woodwind...so yes there are limits in the range, but there always has been, nothing new.

Comrade BNS

[monkeydust]

Fine you win........I give up.

You're obviously more of a music expert than me.

Let's talk political philosophy......much more fun.

[Comrade BNS]

:P


Let's talk political philosophy......much more fun.

fun is such a subjective term! .......hey you said Phillosophy.......

Comrade BNS