Why aren't you creating an image, and promoting the shit out of yourself and material? Why does your music suck? Why aren't you making connections? Harsh noise isn't marketable. (^:
maybe once i learn how to come up with some interesting chord progressions i will anon. why do you assume so much? also please use that smiley the correct way round (ie :^)) its only proper netiquette.
>Has anyone on /mu/ ever ended up on pitchfork?
I produced this
and helped write this
>Why aren't you creating an image, and promoting the shit out of yourself and material?
Because it's far more satisfying to perfect your craft and make good music that no one else will hear.
i just want to create multiple personas for myself and release all sorts of music on cdr and cassette and online but i have skills so i'm just practicing for now, there's no tutorials for experimental electronic music
i don't have skills*
all i have is fl studio and some plugins
I'd suggest using what you have, this includes your shitty mic you use for skype.
Everything gets a lot more fun and interesting once you stop thinkin you 'need' something to make what you wanna make. Especially for experimental music.
>Why aren't you creating an image,
>and promoting the shit out of yourself and material?
Not a big fan of self promotion. I'd rather epople just stumble upon it and discover a hidden gem.
>Why does your music suck?
I think it's pretty good, and really that's the only thing that matters.
>Why aren't you making connections?
>Harsh noise isn't marketable. (^:
I have had a score published...
it got a couple of performances, with pretty good acclaim.
was also on the front page of a couple of newspapers here, one for getting a piece recorded with the national orchestra, another for writing a ballet for a friend who passed away.
the girl was a ballet dancer and it was her wish for me to write a ballet, so I tried to write the most beautiful piece I could, based on her life (and death).
There are articles. this was front page:
~4 years ago now
best advice: go to university. you will learn a shit ton about music, and meet lots of like minded composers and great performers who are keen to play new music. you make connections for life, and learn all the tricks of the trade. without going to university I would never have been able to write a real score for a real orchestra, which was one of my breakthrough moments when my friends and family were like "oh shit, he's a composer now"
I mean, i know where the notes go, but i have no fucking idea about tempo and shit.
But surely practicing the piece is the last stage of getting there?
I could always make a midi version or something, or sing it to them/get someone to help.
>classical musicians can't improvise
thats a common misconception, many are versed in band improv or jazz improv styles.
every musician's different, and you'd be surprised how multi-faceted many classical musicians are these days.
you can always notate out improvisation...
[improvise in G dorian until given signal from the conductor]
its quite common in aleatoric and indeterminate music.
It's okay that you don't have an idea of how classical music, but for the sake of being blunt, yes, you *need* to write sheet music and know a decent amount of theory, otherwise you won't be able to communicate to them.
major in composition.
most universities only have entrance exams for performance papers, where you are taught to be a classical player. I just took composition, theory, history, world music and music technology papers. 10/10 shit.
Xenakis wrote scores.
all composers should be able to write scores as their base ability.
just like a writer need to be able to type or write by hand. you dont have to be fast, but you do need to be able to do it.
OK well you are becoming boring. I'd research the difference between lo-fi and faux-fi, because that's the problem with your logic. It's the difference between doing something intentionally to create a specific aesthetic, and just simply settling for shitty recording equipment because you don't have the motivation to record with better mics, or calling yourself experimental because you don't have the knowledge to create something musically sound in the first place.
Hence my orignal comments.
Certainly image at it's best is a coalescing of the ideas presented in the music, and the art I've found is always made better by it. I guess what I'm saying is be prepared for people to not give a shit for a while, and for many people to tell you you're shit even if others do care. It's really the "trying" element I'm taking issue with, it has to be something you believe in with all your heart to avoid nexus pull of a place like this. Even being conscious of it has been crippling at times.
>tfw i want to be an independent electronic composer, a keyboardist in a symphonic/progressive/fusion band, and a media composer for film/tv/radio/games
>tfw all three of them could happen at the same time
>tfw i'll probably be living the genuine dream soon
I really like what you said here. I remember those faint times in high school where it seemed a break was possible but it always fell short. I suppose my mind is more able to realize/push my vision. I've been keeping myself on my toes saying, "you're no a rock star, you're a nobody. No one cares right now. But that doesn't mean they can't later."
Ehhhh these are conversations I love having in person.
One of my good friends is influential in the local college band scene, so I think I could get a headstart when it comes to exposure, but I don't have the instruments. I'm in debt with no job so I've been relying on my parents and looking for work. Shit is so expensive man
We did. It was further than I had gotten in music at any point in my life. Our Facebook page only has a couple hundred fans, but they're from all around the world which is crazy to me.
Some shitty Post-Rock we made in my garage we were lucky enough to record ourselves using nice equipment and at a nice studio ended up on an EP people actually liked. We even got to play the first year of the Summer Set festival in Wisconsin on the main stage in 2012.
Unfortunately band members wanted to do other things, and one if them flat out said he didn't care about doing the band anymore which was heartbreaking as fuck.
Now I think about how I know I can do that again with my friends, but I'm not currently, and it drives me to depression daily.
the only thing you need to know about classical music in order to make it is that people take it very very seriously.
the one aspect of classical music that separates it from all other forms of music is that in order to be truly appreciated, classical music can never exist in the recorded format: it has to be performed as, how you say, live.
the first thing you will need lots of are performers. live performers are a dime a dozen. they are eager, and are like headless chickens, they are eager not to question the validity of anything you have composed past the fact that you have written it down on lined paper, the second thing you will most of all. as long as your music is written down in precise enough instructions, it does not matter which rules you have followed or haven't followed to create your piece (make sure you use this word or no one will take you seriously, never call anything you make a 'song' or a 'track') - it's all art music to them.
the lesson i leave you with the knowledge that your success in the classical field hinges upon two main abilities: being able to rassle up some performers with the promise of pizza and employment paid in program notes they can show to whomever is funding their education and being able to adequately draw whatever you want them to do using their arcane writing language
good luck comrade, i wish you many great success