Thank you! I had some really weird glitch where it was like two scores laid on top of each other so my pages were a cluttered mess, but now it's a lot better :3
To grab all of the lyrics in a line, just click on one of the words and press ctr shift A. And then to align them all horizontally press ctrl shift R. Is that what you meant?
2:28 Note to myself: The fifth overtone is not a minor third, that’s a fifth (from the root note!) when he said “minor third” he meant the interval between the fourth and fifth overtone. Minor thirds (talking from the root/diatonic scale) don’t appear initially in the overtone series until the 19th harmonic. And that’s why a minor chord sounds sad, they don’t “exist” in nature. Extra note: the root is also called fundamental and that is because it’s the lowest frequency that it can physically vibrate, not less. Reminder: Hz is the unit measure of how many vibrations occur per second.
I feel like many orchestral composers before the modern era of computers and synths are the O.G. sound designers! Without realizing what it was, I grew to love this technique in my music production, layering different types of oscillators on a synth, layering subtractive synths with samplers, layering different types of guitars, or layering them altogether to create totally new tonal instruments, layering drums for creative new timbres (how about fattening up a snare drum with a filtered door slam and a soda can being opened?). While that last example is less tonal, the point is, I and many music producers do this layering instinctively because it sounds cool and it's really fun. For many years I had no idea I had been playing around with manipulating the overtone series, albeit in a less informed way than Ravel. Now that I've gotten further into writing orchestral music, I really look forward to putting this knowledge to work for me, approaching orchestral and acoustic instruments like a sound designer! 🤓
Hello. I just looked at your lessons and realized that you can work in the editor faster and with minimal errors. You are a brilliant teacher. Thank you. I want to share how to insert the selection. You can select a group of notes and not use the Alt key, just press the mouse wheel in the right place.
Nobody like Charlie Ives. By the way, the violin sonatas, the Concord, and the Housatonic at Stockbridge are simultaneously radical/dissonant AND among the most beautiful in the American canon.
Communist propaganda. A composer is an artist with artistic freedom. There’s only one rule: Public opinion. If people like your art, and they buy it, then it’s good. So there’s nothing that an artist MUST learn. But the Nomenklatura survive by trying to define artistic success. What the government does is “good” such as those horrible and ridiculous photos in Vogue Magazine. Or those stupid movies that no one has ever seen which win “Sundance Film Festival Awards”. The government says that their awful songs, books, and movies receive “Rave Reviews” and “Critical Acclaim” even though all of that stuff would be a commercial failure if there were a free market. But there’s not. The government has a total artistic monopoly. That’s Beyoncé, Madonna, and Sting. Political liberty and freedom of speech include the right to publish. But people in America don’t have that right. The electronic prison is all encompassing.
Check out the great David Amram. American legend. He’s still going in his 90s! He also includes indigenous music and plays many of those instruments himself, including the penny whistle(s) (that he also plays jazz on).
This is the most helpful Sibelius video I have encountered so far! As a music theory teacher I often struggle/wrestle with Sibelius to try to get it to do my bidding. Thanks for the info-packed, well-articulated video!
Very cool video! It brought up several reflections for me. Regarding the lack of good AIs for creating music, the recently released AI Suno shows an interesting level of musical composition. I wonder, if human creativity is also based, in part, on combining references to create something new, what distinguishes our creative ability from that of AIs? Is it our ability to introduce random elements? Is error our hallmark of humanity? Our ability to introduce chaos and then harmonize it again... How does something truly new come into being?
Look carefully at the image you give at 4:22 - it undercuts and contradicts what you previously say. Try to align the lines of the overtones and you will find that the gap is wider for the trombone than the other instruments. It's slightly hard to work out the y-axis. It seems to be almost, but not quite linear (if it were linear, then all the overtones if integer multiples of the fundamental, would be equally spaced, which they obviouly aren't. But even compared to each other, the overtones don't line up. Not only the trombone but also the violin, once you get to about the 8th oveetone, is noticeably "off" compared with the spectra for oboe and flute
Both terms are more or less referring to the same acoustic phenomenon. As I understand it, a ‘harmonic’ refers more to the mathematical relationship between these frequencies (if 55Hz is the first integer multiple, it would be the first harmonic, 110Hz would be the second integer multiple, so the second harmonic, 165Hz would be the third integer multiple, so the third harmonic, etc) Overtones refer more to any frequency above the fundamental tone, and overtones don’t necessarily have to have this clean mathematical whole integer multiple relationship. The overtone spectrum of many percussion instruments (even pitched percussion, such as gongs or bells) for example can be really irregular; they produce overtones, but I’m not sure you’d call them harmonics because they don’t have that nice mathematical relationship. Perhaps I should have explained this in the video. In the end though, it’s just a question of semantics.
@@ScoreCircuitI disagree with your characterization of the difference as "just semantics". The best website on the subject is one by the University of New South Wales (UNSW), and in there is the statement that not all harmonics are overtones and not all overtones are harmonics. Mostly what you are describing are harmonics, rather than overtones, which are basically mathematical constructs, rather than physical phenomena (though sometimes they can be both)
Yes, they have some really nice articles on acoustics (UNSW is actually one of my alma maters). If I get the chance I should probably make this distinction clearer in a future video. @@charlesgaskell5899
Hey man, really cool vids, so needed. Btw, I always struggle with copy&paste feature. Especially when there's meter change ¿Any idea how to copy & paste bars without adjusting meter every time? Like, copy the whole content of the bar (including change meter) and paste it just like before
The only way of copying system objects such as time signatures is by system selecting (purple selecting) bars. You can system select a bar by holding down 'ctrl' when clicking on a bar. If you then copy something that is highlighted purple, it will copy everything. 'Blue' selecting bars can't select/copy time signatures.
What a stupid video. Most of those are not clusters. And the old compositions too, they are just dissonant, not cluster-like. Dissonance has always been around, it's as old as music itself, but it doesn't mean they use clusters. What a stupid video that will unfortunately misinform a lot of laymen.
Normally I can follow music theory tutorials on RU-vid pretty easily, this went right over my head I am completely lost. I don’t understand what the composer did special in that song.
Ridiculous that Sibelius can’t set this up itself. There’s no such problems in GarageBand. This software is expensive and should be better. For me, the latest version isn’t a lot better than 7. Come on Sibelius, this isn’t good enough.
One of my favourite Ives quotes (or quips; and forgive me if I recall it less than accurately) was: "Everybody ought to have the opportunity NOT to be over-influenced". He may sound dismal sometimes, but he's enthusiastic and hopeful.
