FROM DEVELOPER'S WEBSITE

Be Original!

... With the included phrase and rhythm generators you can generate thousands of phrases based on your requirements. The Idea Tool will generate a multitrack composition the way you want. You just need to set the conditions and rules of the tool and press the "Generate" button. This application is an infinite source of inspiration (ed. yeah...), and soon you will be wondering how you could have ever worked without it (ed. you couldn't so you didn't/wouldn't).

Music Interpretation

Whenever you import a MIDI file or record from your keyboard, RapidComposer will analyse the notes, fill the master track with harmonies, and convert the notes to parametric representation (ed. woooww!!...). The advantage of separating the form and harmony is significant, e.g. you can play back a Bach piece using the chords of Hotel California! (ed. Damn!..) Or listen to your composition in another key, or with another chord progression. The possibilities are endless (ed. unlike yours...).

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(Sung to McCartney's and Jackson's old tune): "The song is mine.... No, no, no, no, no, the song is mine!" etc...

P.S.:  Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept Deaf & Inept

My favourite loop!! I made it myself!!!! Now I'll just have to run it through VapidComposer to harmonize it...

 civ3 -

Sorry about that somewhat harsh post of mine.  Of course you aren't actually against notation!  I was responding to my delusional perceptions as usual.   Actually I agree with a lot of what you AND Errikos both say.  You are both fine musicians, just approaching things from two different directions I would say.

@civilization 3 said:

I had a delusion for a very short time of being a classical soloist. I expected to get graded worse by that Henry Meyer, having the gall to play that one. Maybe he felt sorry for me. 

I don't watch a lot of movies. I am watching the tv program "Fringe" now and I have found the music of this guy Giacchino quite distasteful. I think where he isn't strictly from pedestrian (or minimal) he's copying someone's score. Clever boy, but...

I'm sure you could have been. 

I was really enjoying Luck. And then they had to take it off after the first series because of health & safety re: the horses, unfortunately. I think the creator and original writer is David Milf. I like his work quite a bit. Very Shakesperean in his attitude and the actors always deliver very well in his TV creations.

Giacchino may have done some music to Die Hard 4. I'm don't know without looking it up and I never look anything up unless it's to do with cameras or camera crews. He may have done the music to Lost (which was drivel - I lasted 2 shows) and something called Alcatraz, which definitely harks back to older times of TV. Just entertainment without having to think, which is fine sometimes. 

I mean copying scores is quite common if you think about it. A lot of the time it's not really copying but 'sounding like' and a lot of that may have something to do with orchestration techniques and requiremnets made by producers/directors  - Aw man, I want it to sound just like that last Hans Zimmer movie' ect.

Hi Dietz,

maybe it's time for a little software update...

... this would create a completely new meaning for the term "user control" [:^)]

Cheers

Klaus

[Y] *ROFL*

@Another User said:

P.S.1: You have a syndrome against notation. No one said it's perfect, but I think it is because you know ****-all about that as well, so it scares you. I'm certainly game to take you on with that bet of yours - I certainly will use the money, provided it is worth my while, and that you remember that 'music notation' provides for its own meta-typography, and even verbal instructions, regarding musical passages that cannot be "conventionally" scripted. That includes the use of symbols and drawings for when the effect is more important than the actual pitch or rhythm (see Penderecki, or for more extreme example, Logothetis).

P.S.2: Will you please stop sharing your straw-fetish with me henceforth...

notate this, then: accurately to the point I could get people to perform every pitch, every nuance of rhythm just so: https://dl.dropbox.com/u/18778361/25.%20SPACED.mp3

As though a symphonic transcription. You can call any instrument whatever you like. I don't mean vague gestural symbols, I mean every note. Your assertion is 'notate every note or it isn't yours' is it not? Good_luck.

go ahead and bet the farm.

PS: your entire content here sums to 'you're stupid, therefore your points are invalid'. In a thread that announces to the community you require people you don't know to be inept and deaf, in order to seem superior, it's a great fit.

"I'm greatly surprised to see PaulR is even bothering with you..." Well, you sure are. [Y]

@civilization 3 said:

I had a delusion for a very short time of being a classical soloist. I expected to get graded worse by that Henry Meyer, having the gall to play that one. Maybe he felt sorry for me. 

I don't watch a lot of movies. I am watching the tv program "Fringe" now and I have found the music of this guy Giacchino quite distasteful. I think where he isn't strictly from pedestrian (or minimal) he's copying someone's score. Clever boy, but...

I'm sure you could have been. 

I was really enjoying Luck. And then they had to take it off after the first series because of health & safety re: the horses, unfortunately. I think the creator and original writer is David Milf. I like his work quite a bit. Very Shakesperean in his attitude and the actors always deliver very well in his TV creations.

Giacchino may have done some music to Die Hard 4. I'm don't know without looking it up and I never look anything up unless it's to do with cameras or camera crews. He may have done the music to Lost (which was drivel - I lasted 2 shows) and something called Alcatraz, which definitely harks back to older times of TV. Just entertainment without having to think, which is fine sometimes. 

I mean copying scores is quite common if you think about it. A lot of the time it's not really copying but 'sounding like' and a lot of that may have something to do with orchestration techniques and requiremnets made by producers/directors  - Aw man, I want it to sound just like that last Hans Zimmer movie' ect.

Later, I think the second season, you see two names, Giacchino and one Chris Tilton. I didn't see that at first but I had gotten to think more of the good music was prevailing.

Sometime later, the credits have Tilton's name first. I get the impression Giacchino's the name, and the boss, until it's not the name, as the evidence is overwhelming or Mr Tilton spoke up in some fashion. By this time the music is mostly truly brilliant.

Worst TV theme ever, written by the producer JJ Abrams. Who seems to want to employ Giacchino.

@civilization 3 said:

notate this, then: accurately to the point I could get people to perform every pitch, every nuance of rhythm just so: https://dl.dropbox.com/u/18778361/25.%20SPACED.mp3

This is an electronic-music track you MORON!! [Sorry, this is a polite forum.] You don't notate that!! What does it have to do with orchestral/symphonic music, or even its virtualization (even if there are instrumental samples in this)?!?!? Symphonic, orchestral, instrumental (what else do I call it?!) music is and always has been my preoccupation here - whether you could "get" that or not...(well, 'not', as it happened). Be that as it may, a lot of what is in the foreground and some parts in the background are perfectly notatable, especially when you allow for glissando lines and some modern notation. Can't you tell??

However, and I don't know whether the track is yours, I was doing stuff like that during my first year at university for my Electronic Composition major (in my 2nd year I did better of course). This isn't to say "I am a better composer than you"; it is to tell you that I know what's involved, and I used to know (it's been decades almost) how to build something like that from scratch (from just a sine wave) through writing code, instead of using ready-made sounds and just tweaking them... Why am I saying all this? You always - arrogantly - assert that all I understand (or like) is dated, dead music, and that I'm reactionary to anything that isn't that and - allegedly - challenges me.

That's how much you know about music and about me... I have admitted that you know much more in terms of studio set-up and machines and softwares talking to one another through cables and the ether; in short, that you are a superior studio technician to me. I never meant that you could approximate my knowledge in the actual creative aspects of academic electronic music (yes, I don't mean head-bobbing DJ crap, to which I am blissfully indifferent). Just because I prefer to write for acoustic instruments it doesn't mean that I am ignorant of other musical areas; I just have my preferences, and of course my own opinions regarding their worth (my prerogative, as is yours when dismissing all the classics).

I am not going to address anything else, as my debating skills have been proven time and again to be far above and beyond anything you could ever comprehend. Enjoy your meek ignorance and writing your straw-inspired tracks.

ADDENDUM: It occurred to me that you might think you have proven your point regarding a perceivable incongruity - false as it happens - between my signature and what I am saying above; i.e. that there is in fact music that can be one's own, without the possibility/need of traditionally notating it. NO! I also put MIDI in my signature, which is a broad way of saying that in any case, one has to be responsible for every - or as many as possible - musical event(s) in one's own composition, even if the music is the result of an algorithmic/mathematical/controlled-indeterminacy process (also encompassing in that way serious electronic composition). One has to be able to either notate, play, or program/generate as much of the musical material as possible, by oneself. If orks just collate block musical phrases and chunks that someone else came up with and recorded, and then just thatch(!!) them together with some puerile/insignificant materials of their own, then they are just deluding themselves, and damaging everybody else.

@Errikos said:

FROM DEVELOPER'S WEBSITE

Whenever you import a MIDI file or record from your keyboard, RapidComposer will analyse the notes, fill the master track with harmonies, and convert the notes to parametric representation (ed. woooww!!...). The advantage of separating the form and harmony is significant, e.g. you can play back a Bach piece using the chords of Hotel California! (ed. Damn!..)

Now, this really is abysmal...

...our author probably ment to say "...of separating the melody and the harmony...", but he also seems to be blissfully ignorant of the fact that different harmony can substantially change the percieved form of the piece, that is, that form and harmony cannot be arbitrarily separated, as the harmony happens to be constitutive to how we percieve the form...

 that's a good point Goran.  For example symphonic form has embedded within it harmonic progression which is essential to the structure of each movement.  Also, one could state that a melody IS harmony in linear form.  On that thread with the Grieg melody, what is most striking in the entire piece is the change from the fifth degree of the subdominant of the relative minor to the leading tone of the tonic. It is the harmony that gives the actual feel of that melody.  Also, in composing I sometimes feel that a melody is really just the clarification of a feeling that is basically the harmony.