So I tried to come up with a little theme with baz in mind and this is what happened… It’s more for the humorous side Baz and these are some of the times I had in mind when I thought about the song….
• When Baz stormed through those doors like the badass mother fudger he is (and the bass line would sorta be in sync with his footsteps as he strolled up to the doors and then the doors fling open once the main theme starts)
• Whenever Baz smirks and starts teasing Simon
• When Baz practically dies inside after seeing Simon on his rug (and simons like omg you’re wearing jeans)
• Whenever he yells at his sister for not knocking
• THAT TIME WHEN HIS DAD WAS LIKE “U plotting mate” AND WINKED AND BAZ IS LIKE FFS
• Also it kinda makes me think of Simon crawling through bushes and sneaking after Baz like ‘Penny, he’s plotting something. PLOTTING.’ Basically whenever Simon’s like 'He’s plotting.’.
Hence, I named Baz’s Theme 'Plotting’. (It’s legit stuck in my head now for Crowley’s sake)
There’s probs a few more scenes it’d fit but those were the top ones on my mind - HOPE YOU ENJOY!!!
I’m Richard, or @you-had-me-at-e-flat-major , and I’ve been invited to @musicainextenso to talk
about my own compositions as well as my composing process. Over this week I’ll
be presenting 4 compositions. In general I like to explore different styles in
my works, sometimes emulating existing composers, sometimes experimenting on my
own. I’m afraid you’ll have to excuse the poor recording quality, all of the
compositions I will present over this week use synthesised instruments in their
recordings. That being said, I’d like to start with a piano piece, whose
synthesised recording doesn’t actually sound half bad, called Cerfs-volants (French for kites).
My intention for
this piece was to create an impressionistic piano piece based on the style of
Debussy, and I chose to write a piece evoking the image of kites. The most
difficult part of writing this piece was finding a beginning theme. In order to
do this, I attempted to emulate some of Debussy’s trademarks. Debussy
frequently used alternative harmony such as whole-tone scales and extended
chords including major 7th and major 9th chords, which
led me to base the introduction and first few themes on tetratonic scales (ex. D♭-E♭-G♭-A♭-D♭,
and major 7th
and minor 7th chords.
The piece was
written in a non-standard form: Introduction-A-B-C-D-Introduction-A1-Coda. The
introduction and A theme were based on the tetratonic scale and 7th
chords. The B and C sections serve as contrast. The B theme consists of various
major 7th and later minor 7th chords, shrinking to 6th
chords, major triads, suspended chords and augmented chords, all played over an
ostinato, followed by arpeggios. The C theme is starkly different: it consists
of very strong, ff arpeggios in C
major. During this, the note A♭ is gradually added to facilitate
modulation to Fm for the next section.
faced was returning after much harmonic development in the B and C sections to
the original tonic key of D♭. I achieved this by adding a slower D
section of arpeggios based on F minor, gradually adding G♭s to facilitate modulation via an A♭7 chord back to D♭ for the
In order to prevent repetitiveness,
I did not recapitulate much: only the introduction and a modified A theme. A
coda followed: a series of arpeggios in D♭ and A♭7,
ending with an elongated section of D♭ arpeggios
with the pedal held.
Okay here it is. But there are SEVERAL THINGS YOU MUST KNOW BEFORE YOU LISTEN!!!!!!
• this is a rough draft of sorts haha it is a work in progress so it isn’t very good
•it is supposed to sound smooth and expressive, but the program is BEING DUMB and made it choppy
• this is my first attempt at composing seriously
• I am FULLY AWARE that the beginning sucks. I’m going to change it
• the long weird pauses are supposed to be fermatas but the software is BEING DUMB
• if you can get past the first minute or so, it’s not So bad. The first minute is rather rough
• I couldn’t get an audio, so this is a crappy video from my phone.
• if you listen to the whole thing thANK YOU SO MUCH
•please give me (hopefully constructive lol) criticism!!!!
For those who don’t know about it. I composed a improvisation-like classical piano piece inspired by Arcanine’s NicoMaki fanfiction ‘Trying to keep it cool’ (AO3 link:https://archiveofourown.org/series/737124). Just trying to portray that magical scene of Maki playing in a thunderstorm night at Nico’s request. (It got out of hand, it’s a bit difficult to play so now I’m studying like an idiot xD)
I hope to have the recording soon!! And read the fic if you haven’t, 100% RECOMMENDED!
The third post in this African Music
series is about the great diva from Cape Verde, Cesária
She was born in Mindelo
in Cape Verde on 27 August 1941. Her
parents were poor, and after her father’s death (probably due to alcoholism),
her mother placed her in an orphanage. Here she was introduced to music when
she joined the orphanage choir.
When she was older, she started singing in the local bars of
Mindelo, a glass in one hand, a cigarette in the other. She became well-known
locally for her interpretation of coladeras and mornas, the traditional songs of Cape Verde
(heavily influenced by Portuguese music, since the islands used to be a
first international success was in 1988 with
the release of her first commercial album La Diva Aux Pieds Nus, recorded in
France. She eventually won a Grammy for World Music in 2003 for her album Voz
d'Amor. She died in 2011.
The song I’ve selected is Sodade, the
Cape Verde version of the Portuguese word saudade, which refers to a deep
nostalgia or a profound melancholic longing (for something or someone
PS: If you want to listen to more
African divas, I recommend the late great Miriam Makeba from South Africa and
Angélique Kidjo from Benin.
Enjoy! - Today in Tokyo (who lives in Tokyo but grew up in
Jan Lisiecki - Nocturne in C sharp Minor (1830) - Proms 2013
Frédéric Chopin - (1810-1849) Poland
He was an introverted person (just like me), and a great composer for the piano. Well, he must be “God” on the piano because he basically composed only piano pieces (even though they perfectly could be for singers as well).
This composer has meant so much to me in these past few weeks because I’ve felt so lost lately in my music composition major, and I’ve returned to the piano with THIS Chopin piece, and I’ve never felt more alive. It is my favourite piece, and in six months I’ll be playing it for the jury of my piano audition.
I’d like to double in piano major because I’m almost done with composition, but I’m not really feeling it. I don’t have anything to say that the musical language that we’re requested to write on can express. Maybe that’s my problem. I don’t see myself doing what I’m doing right now, but I also can’t see myself in an office, or doing something different than music.
I’m sincerely hoping that this reconnection that I’m tying to work on with the piano brings me the joy and the courage I need to continue my path as a composer and as a musician. And even maybe as a concert pianist.
Hi guys! For the past month I have been working very hard on this special project. I began by taking Taylor’s chords for the songs and using them to compose for piano, violin, and cello. I then added vocals and finished it up by recording a video. I am incredibly happy to share this with you! I love both of these songs so much and i cannot WAIT to hear the rest of #reputation. (23 days!)
Whew, not quite too late. Happy Birthday, Schubert! Today Beet plays one of your piano four-hand compositions with you.
(Edit: Like a fool in a hurry, last night I posted this without sourcing the music. Oops, sorry! Musical score is a transcription of Schubert’s Ave Maria, transcribed by David Neyrolles. https://www.youtube.com/watch?v=NHSz7URU3p0 I picked this version because it was simple enough to draw fairly quickly. Any mistakes are very likely my own, as I am no master of reading sheet music.)