Compliments

[ZENON]

Is it just me, or do other people feel guilt when people say stuff like, "Hey man, I like your stuff, you are the best" or other things like that? You know its not true, of course, but there is one factor that makes me feel kind of bad that people actually can listen to my music without tearing their ears out in agony:

I have no clue what I'm doing! I sit down at a music maker and I put down what I think will sound good. I know nothing about music, hell,just this year I learned how to read notes.

FOR DRUMS.

Thats how much I suck.

Thats the main reason why I almost feel bad, its cause people say shit like, "Man, I could never do that", even though they easily could.

Pointless thread +1

[pitbulljones]

i cant read music

i can barely read tab

it's not a problem

[Arbiter]

At 8/7/06 08:52 PM, -ZEENON- wrote: Is it just me, or do other people feel guilt when people say stuff like, "Hey man, I like your stuff, you are the best" or other things like that? You know its not true, of course, but there is one factor that makes me feel kind of bad that people actually can listen to my music without tearing their ears out in agony

It's as you stated not going to be truthful, as there will always be people better at what you do than yourself (not pointing at YOU, but using it as an example)
I personally prefer a SOLID criticism from someone more talented than myself much more useful than a "This sounds like movie stuff----4/10"
Or the general guy who knows nothing about music saying "OMG U R SO GOOD CAN YOU TEACH ME?".

I don't really feel bad about having fans, and I don't think you should either.

I have no clue what I'm doing! I sit down at a music maker and I put down what I think will sound good. I know nothing about music, hell,just this year I learned how to read notes.

FOR DRUMS.

Thats how much I suck.

The best Music originates by originality and feeling, not theoretical rules, and even though it's not something you're aware of, It's probably following terms of theory. Or else it wouldn't "sound good".
Notes is not essential to create music, I personally know how to read them, but I really haven't benefitted that much from it.

Thats the main reason why I almost feel bad, its cause people say shit like, "Man, I could never do that", even though they easily could.

Pointless thread +1

Remember that most people won't have your experience when it comes to music, at least of the "masses", so technically they wouldn't be able to do it at given time.

[Swirly-Helix]

I cant read music, I just go by the ear. I get really good compliments sometimes saying that I'm a good programmer and what not, I try to learn other programs and be a professional as I can be. but I cant compare to muicians like T7Online with huge studios and shit.

confession :/

[LoneEagle]

I think that the recognition given is not about how you can read notes and skills like that but more about... just the song and the idea portrayed in that song.

People that say " i can never do that" say that for one of these two reasons i think :
1- they never tried it
2- they aren't there yet in their "musical journey"

But i think i know what you are talking about. Most of the reviews i get are from people that are far ahead of me in their musical journey, and i think it's weird for them to come and give me compliments on my song(s).

I remember when i got my first reviews from MaestroSorrow, saying that my music is good and all (i ain't saying the opposite here don't get me wrong), then i check his music and i'm like wow... how can he say these things about my work when his is 10 times better than mine.

So i got to thinking that it must if been the ideas or just the plain composition, regardless of skills or samples or quality. Ideas... go beyond.

I'm taking so long to write, Arbiter had time to write a hole thing that i didn't even read yet.

[ImperfectDisciple]

I have some knowledge as to how to read music.

Does it help? A little. Theory helps 20% I would think.

I play music a lot. I jam with people on my drumset. I play in church services. I play piano a lot. I listen to music a lot. I critique music a lot. I make music.

Is it helpful? More than theory. You can learn theory by ear, it may take more time, maybe, but it's more helpful, because you instantely know whether something may seem out of tune. Or if the rythm or tempo is off. It's just build in you that way. Actually learning theory is helpful, but learning feeling is the foundation, at least I think.

[ZENON]

At 8/7/06 09:24 PM, SuperDrummer146 wrote: I make music.

Songs by Superdrummer: 9
Songs by that loser, Zeenon: 336

Get back in FL and make more moosix lolol

[Arbiter]

At 8/7/06 09:39 PM, -ZEENON- wrote:

At 8/7/06 09:24 PM, SuperDrummer146 wrote: I make music.

Songs by Superdrummer: 9
Songs by that loser, Zeenon: 336

Get back in FL and make more moosix lolol

Remember that I only have three songs up.
Not everyone spend 15 mins on each song Zenon.

[Chronamut]

shut up zenon lol.

[ZENON]

At 8/7/06 09:52 PM, _Arbiter_ wrote: Remember that I only have three songs up.
Not everyone spend 15 mins on each song Zenon.

If by 15 minutes, you mean 2 or 3 hours, then I agree.

Just cause I have a lot of songs doesn't mean I don't try in them :( I just have too much time on my hands.

At 8/7/06 09:55 PM, Chronamut wrote: shut up zenon lol.

Wow, I have more songs than you.

*thrusts air whilst making manly *unf* sounds'

[RoboX]

A lot of artists do that?

Everything my band makes up sounds pretty good...

All I do for my guitar riffs is play what I can until it sounds good, and then organize until it sounds great.

Same with FL, I put down some stuff, experiment with chopping, and it builds into a huge track.

(although my crap is not nearly as close, I just got FL 2 days ago and I don't know all the advanced techniques like the better artists, such as yourself)

On that note, want to show me some stuff ^-^ I'd appreciate it ...

[ZENON]

At 8/7/06 09:59 PM, roboxpirate wrote: On that note, want to show me some stuff ^-^ I'd appreciate it ...

You bastarding suckup.

Maybe.

[LJCoffee]

At 8/7/06 08:52 PM, -ZEENON- wrote: Is it just me, or do other people feel guilt when people say stuff like, "Hey man, I like your stuff, you are the best" or other things like that? You know its not true, of course

So you're saying that all of those reviews you left me where you said things like "Hey man, I like your stuff, you are the best" were just lies, lip-service and bullshit?

you....little....basTARD!

:D

jk jk - I know you're full of shit but that's cool.

[ZENON]

At 8/7/06 10:10 PM, LJCoffee wrote: jk jk - I know you're full of shit but that's cool.

What can I say - I'm a toilet.

[Arbiter]

At 8/7/06 10:10 PM, LJCoffee wrote: jk jk - I know you're full of shit but that's cool.

That's in all basic Bias.
Not many will fully express their emotions to someone they respect.
And even though I see you're quite talented, and among the best at this specific webpage, doesn't really mean that you're the best overall.

[RoboX]

Not sucking up, I just usually like mentors/teachers when I first start out with something.

[Dj-Fanta5t1c]

thats foreal lol

[Erkie]

It's just that.

The guilt lies in lying.

The objective of a review is to be critical, not appraisal. It is much more satisfying to be critical because it's the truth, the only guilt in being critical is how hard you are on the musician.

[DJCityScape]

i can read music for 5 instruments, write music for a whole lot of instruments, i know about harmony and stuff, and i get almost no recognition...go figure.

[Syntrus]

I read music and try to be all technical but ussually i use pure creativity and pump around some sub rhythms some base some beat and it ussually feels like iam not even there doing it its like an exstension of mine its just doin wutever feels natural. i sorta lose myself.

[Noe3]

At 8/7/06 08:52 PM, -ZEENON- wrote: I have no clue what I'm doing! I sit down at a music maker and I put down what I think will sound good. I know nothing about music, hell,just this year I learned how to read notes.

FOR DRUMS.

I've taken music classes since the 5th grade, I took private lessons for my instrument, I've played some of the hardest music out there, and I still suck at making music compared to you... I think when it comes to making music it doesnt matter if you have past experiences with it, you just got to have some nice ears on you.

[ZENON]

At 8/8/06 02:14 AM, Noe3 wrote: you just got to have some nice ears on you.

Thank you, I try. 2 hours each night scalpting them. :P

[Erkie]

At 8/8/06 03:41 AM, -ZEENON- wrote:

At 8/8/06 02:14 AM, Noe3 wrote: you just got to have some nice ears on you.

Thank you, I try. 2 hours each night scalpting them. :P

You sick bastard.

[ZENON]

At 8/8/06 04:00 AM, Erkie wrote:

At 8/8/06 03:41 AM, -ZEENON- wrote:

At 8/8/06 02:14 AM, Noe3 wrote: you just got to have some nice ears on you.

Thank you, I try. 2 hours each night scalpting them. :P

You sick bastard.

If you know what I mean, I ment to say.

[Simon-F]

People who write music "from the heart" or some such and use that as a basis to ignore the significance of music theory are, ironically, using the most basic of triads and progressions simply by ear, because it is what they have heard and are now trying to emulate.

Many view music theory as a set of rules that must be followed and then avoid learning it for fear of their artistic expression. This is an incredibly stupid notion, or else music theory would have been called music laws or some such. It's not a set of laws, it's a theory - a theory is a challenge, a way of teasing, "Proove me wrong." Composers who came towards the end and after the romantic era did just that; take Debussy, who used used parallelisms and strange chord patterns up the whazoo, but made it beautiful in his very distinct style (ex: La Cathedral Engloutie). If you want to avoid relying on music theory, that's fine, but you have to learn it first or else you're only constricting yourself more because you'll subsequently rely on your untrained ear, which is highly misleading. Much as I admire the talent of MilkMan_Dan, I was rather perturbed in the manner that he felt music theory was unimportant and inhibiting to his expression. He was talented enough to appeal to the hearts of many and create so much from his keyboard, but nevertheless, I felt he could have done much more, and hope as much in his further musical endeavors.

[/rant]

[snoballandthmonyshot]

At 8/8/06 05:43 AM, Simon_F wrote: People who write music "from the heart" or some such and use that as a basis to ignore the significance of music theory are, ironically, using the most basic of triads and progressions simply by ear, because it is what they have heard and are now trying to emulate. etc etc

hmmm, i think what ur getting at with the rest of ur post is that you gotta know the rules b4 u can break them which is to a degree true. this is not however always the case, i knew loads of people who's theory was phenomenol at uni but who couldn't compose for shit and people who new next to nothing and were writing amazingly intricate orchestral stuff so it certainly isn't the be all and end all. as for the quote above, are u saying that if your theory is rubish, all u can lay down is simple chords from a celine dion track? just asking, isn't too clear:) don't get me wrong tho, i agree that every1's compositional ability would be enriched to some small way from knowing more theory and i say small because i know a fair bit but i don't to use it much so it also depends on peoples working methods and style.
;ped

[Simon-F]

Knowledge of music theory has no connotations about capabilites insofar as composing well. There are two very unique things that dictate how well one can compose; talent, which cannot be taught, and skill, which derives from knowledge and practice. A talented composer with little background in music theory will likely compose better than a composer who has very little talent and who relies on what he has learned.

Music theory is a tool, a means to an end, and is not in the least a magical enlightening by which one may suddenly become a spectacular composer. It is a guideline, a means to understand what you have written and what you will write. With that understanding comes a greater general sense of structure and how to achieve what you want. Alternatively, one can experiment and achieve structure and beauty with specific regards to ignoring music theory and the restrictions it entails.

[WinTang]

Simon_F's views are exactly mine. He took Debussy as an example, but I think maybe his "nemesis" Ravel (both were active in what is generally called French Impressionist music, though they both dismissed that term) is even more notable. A good example is his "Le Gibet", the 2nd movement of his solo piano masterpiece "Gaspard de la nuit", where he mainly uses parallel quints for the left hand, which may just be the most blasphemous attitude imaginable toward music theory. Yet it is one of the most beautiful compositions I've ever heard.
I have to admit that Ravel appeals way more to me than Debussy, so I haven't been exploring much of the latter.

I am thoroughly convinced that dissonance, bitonality, parallel chords, and all possible combinations (such as parallel dissonant intervals) will only work if the composer is putting thought into every note, just like he (or she) would when he'd zealously follow all the rules. That is skill. And talent just determines the line between something that is nice to listen to, and something that really touches you. No theory will ever explain that.

[Simon-F]

At 8/8/06 08:10 AM, WinTang wrote: I am thoroughly convinced that dissonance, bitonality, parallel chords, and all possible combinations (such as parallel dissonant intervals) will only work if the composer is putting thought into every note, just like he (or she) would when he'd zealously follow all the rules. That is skill. And talent just determines the line between something that is nice to listen to, and something that really touches you. No theory will ever explain that.

Well put!

<3 Ravel

An interesting manner of exploring all of this is to try it out for yourself. Myself, I'm writing a series of preludes for solo piano inwhich I experiment with taking certain liberties and depriving myself of others and yet ultimately creating something that is cohesive and in its own way logical. My favorite so far is no. 2 (which I have a recording of of my camera, just gotta find it...stupid camera), which changes time signature just about every measure to very bizarre things like 15/8 to 4/4 to 9/8, etc., yet the melody remains unperturbed. No. 1 is already uploaded (and got me a fine flock of zero voters too for getting on the Weekly Favorites, jealous bastards >:[), abound with major sevenths and minor seconds and minor ninths that melodically end up making sense, despite the rugged dissonance that's been hidden throughout.

There are innumerable aspects of music theory that one can debate, deny, or use, but ultimately, it's really up the composer to know when and what to use to the best effect.

Nifty stuff, eh?

[MusicalSerenity]

Dissonance is a big problem for me.

I get many compliments saying the structure and thought of my songs are great but the dissonance ruins it.

And as for compliments, to be totally truthful I look foward to nice, long, reviews with tons of constructive criticism saying what you've done wrong rather than a short sentence or two saying how awesome it is. But that's just me ;)