seen from China
seen from United Kingdom
seen from China
seen from Greece
seen from United Kingdom
seen from United Kingdom
seen from Pakistan
seen from United States
seen from Italy
seen from China
seen from United Kingdom
seen from Poland
seen from United States
seen from United States
seen from United Kingdom
seen from Vietnam
seen from United Kingdom
seen from United States
seen from United States
seen from United States
Presenting my guide to breaking down the composition process, aka that New Thing in the EE2 Syllabus. It contains my analysis of literally every dot point in the composition process so that you, too, can nerd out over all the things you’re expected to do for this subject.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
I've been working on inputting dynamics tonight, and my feeling on dynamics is they're kind of already there when I write the notes. Like adding all the letters and hairpins (ideally) only confirms the shape that's already there. Which isn't to say it's not important for them to be there, it's more that you can't create the shape of a piece with dynamics (though I've seen many (published) composers try). The shape is in the thematic and harmonic structure. Or if it's not, it's just a house of cards.
Ulysses can be regarded as a mosaic bearing the visible imprint of its change in direction and in form in the years 1914-1922
Hans Gabler
So close
Had some time to write today but unfortunately the computer was not in the mood. So I spent time fixing it. Ugh I'm ready to pull out the old manuscript paper and go about this old school. Computers, mainly Finale and GPO have spoiled me and my compositional process
