Me and my mate want to start messing around with making music

I think you should take a few days to reevaluate all the options, just to be on the safe side. it's an important decision when you are starting to mess around, you want to make sure you're messing around in the correct way.

My latest piece begins with a rather post-semantic 'module-leitmotif', before chorally transforming the existing polyphonic material into a more quartally-pro-post-Schoenberg state, a process I term 'pro-Stockhausenesquely-creative-recontextualising'. The most important tip I can give anyone is this: Never visualise post-polyrhythmic performers; rather, endeavour to transform your post-stylistically-traditional arrangements. It is always crucial to create a sense of 'arts of ensemble', never more so than today. All composers should recontextualise a variety of tones, and (if this dominates intellectual works), proceed to inform ambiguously until the best result is achieved. My tetrachord is the only one of its kind, due in part to the inclusion of highly-innovative meaning-pitches, with a hint of so-called 'theme-counterpoints'. It is plainly obvious that the act of incorporating percussive intervals causes one to become coherent (and sometimes even developmental), which is why I deny this approach, preferring instead to simply deny microtonally.

hope this helps

.|.

Get an audio recorder or a cheap mic that plugs into your laptop. Gather some stuff that makes sound or any old battered instruments you can get your hands on. Download a couple of free vst softsynths and effects, there's tons about, most of it is decent enough quality. Get a usb controller keyboard with some knobs/faders. Get a daw: ableton/FL/reaper, it doesn't really matter. Record yourselves making sounds and melodies. Cut that shit up and mangle it. Structure it into songs. Sorted.

  On 1/10/2012 at 3:38 PM, Jonas said:

If you are really serious about this, I advice you to take singing lessons, preferably jazz singing.

  On 1/10/2012 at 2:45 PM, THIS IS MICHAEL JACKSON said:

My latest piece begins with a rather post-semantic 'module-leitmotif', before chorally transforming the existing polyphonic material into a more quartally-pro-post-Schoenberg state, a process I term 'pro-Stockhausenesquely-creative-recontextualising'. The most important tip I can give anyone is this: Never visualise post-polyrhythmic performers; rather, endeavour to transform your post-stylistically-traditional arrangements. It is always crucial to create a sense of 'arts of ensemble', never more so than today. All composers should recontextualise a variety of tones, and (if this dominates intellectual works), proceed to inform ambiguously until the best result is achieved. My tetrachord is the only one of its kind, due in part to the inclusion of highly-innovative meaning-pitches, with a hint of so-called 'theme-counterpoints'. It is plainly obvious that the act of incorporating percussive intervals causes one to become coherent (and sometimes even developmental), which is why I deny this approach, preferring instead to simply deny microtonally.

 

hope this helps

 

lol

http://www.dominicirving.com/temp/cccbsg.pl