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Hey all. I want to make this score "perfect" so if there are any wrong accidentals, could you tell me which ones and why they are wrong? Much appreciated. http://musescore.com/user/83619/scores/123872
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Before I say anything more: what do you hear as the melody in this piece?
Regards,
Polyphonist
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Before I say anything more: what do you hear as the melody in this piece? What do I hear it as? It's my piece. What the melody is isn't subject to interpretation haha. At any rate, do you not know the melody? I think it's pretty obvious.
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Joined: Mar 2013
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Before I say anything more: what do you hear as the melody in this piece? What do I hear it as? It's my piece. What the melody is isn't subject to interpretation haha. At any rate, do you not know the melody?? I think it's pretty obvious. I know what it is; I'm just making sure we're on the same page. What is it, Joel?
Regards,
Polyphonist
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Before I say anything more: what do you hear as the melody in this piece? What do I hear it as? It's my piece. What the melody is isn't subject to interpretation haha. At any rate, do you not know the melody?? I think it's pretty obvious. I know what it is; I'm just making sure we're on the same page. What is it Joel? There's actually more than one melody given the inner voice. Why are you testing me?
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I don't see a significant inner voice here. The reason I'm asking is because if the melody is what I think it is, you haven't notated it correctly.
Regards,
Polyphonist
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I don't see a significant inner voice here. The reason I'm asking is because if the melody is what I think it is, you haven't notated it correctly. The inner voice becomes significant at measure 21 through 28 and leads into the harmony of the following measures. Listen for it. Now what about the melody?
Last edited by JoelW; 09/16/13 03:33 PM.
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I don't see a significant inner voice here. The reason I'm asking is because if the melody is what I think it is, you haven't notated it correctly. The inner voice becomes more apparent at measure 21 through the climax. Listen for it. Now what about the melody? Of course, there, but not at the beginning. And you don't need to tell me to "listen for" anything, Joel. I repeat: how do you hear the melody?
Regards,
Polyphonist
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Joined: May 2012
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I don't see a significant inner voice here. The reason I'm asking is because if the melody is what I think it is, you haven't notated it correctly. The inner voice becomes more apparent at measure 21 through the climax. Listen for it. Now what about the melody? Of course, there, but not at the beginning. And you don't need to tell me to "listen for" anything, Joel. I repeat: how do you hear the melody? No, I don't hear the melody. Could you help me? Dude, I composed the thing..
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Joined: Mar 2013
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9000 Post Club Member
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I don't see a significant inner voice here. The reason I'm asking is because if the melody is what I think it is, you haven't notated it correctly. The inner voice becomes more apparent at measure 21 through the climax. Listen for it. Now what about the melody? Of course, there, but not at the beginning. And you don't need to tell me to "listen for" anything, Joel. I repeat: how do you hear the melody? No, I don't hear the melody. Could you help me? Dude, I composed the thing.. So what's the melody?
Regards,
Polyphonist
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Ugh, how obnoxious. Here... http://picosong.com/yEVw/
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Great. The melody should be in half notes and quarter notes, as you played it, and the three eighth notes should be a second voice beamed together with a quarter and eighth rest under the half note in the beginning of the bar.
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Polyphonist
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Also, the chord in bar 41 is spelled wrong. Think about the voice leading.
Regards,
Polyphonist
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I thought of that but then I assumed that people would play it that way naturally, especially when pedaling. But I suppose the clearer the better.
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So flat when the tone is descending from the previous and sharp when the opposite? Always?
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So flat when the tone is descending from the previous and sharp when the opposite? Always? Pretty much. I'm sure one could think of a few exceptions, but all else being equal the voice leading indicates an E flat, not to mention the harmony.
Regards,
Polyphonist
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I thought of that but then I assumed that people would play it that way naturally, especially when pedaling. But I suppose the clearer the better. I think so. Better do it for the dummies out there.  Joke, by the way, in case you didn't know. We don't need another big argument over a misunderstanding. 
Regards,
Polyphonist
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I thought of that but then I assumed that people would play it that way naturally, especially when pedaling. But I suppose the clearer the better. I think so. Better do it for the dummies out there. Joke, by the way, in case you didn't know. We don't need another big argument over a misunderstanding. haha
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Actually most of the accidentals wind up being flats if I follow that criteria. Check it out: http://musescore.com/user/83619/scores/123872
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Joined: Aug 2013
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I'm guessing that rule applies to passing tones, etc. but probably does not apply to modulation and borrowed chords--in those instances you would spell your accidentals according to whatever key you're moving to(?)
Last edited by stalefleas; 09/17/13 12:30 AM.
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