wala na mentor ko
totoo bang wala na si kaye sa mrm studios? grabe naman...kakalungkot lang kasi siya ang mentor ko pagdating sa E-commerce e.... Lahat na ata ng tips sa pag boblog and website promotion naturo na ata nya sa kin e... From "Ad Blindness" for ads to "layout" ng overall design of the site...hayy kakapanghinyang talaga...Me YM nman???ewan ko kung mg online pa sya...If your reading this kaye...Where u na ba?hehe...Sayang kasi tuition ko sa yo e, d pa tayo nakarating ng midterms hehehe....
nyways, good luck on your new endeavour!
A Practical Guide to Musical Composition
by Alan Belkin 1995-1999
Articulation and degrees of punctuation
Articulation is necessary, as Schoenberg points out (4), because listeners cannot grasp orremember that which has no boundaries.
The composer needs many degrees of articulation: the degree of punctuation chosen gives the
listener important cues about where he is in the piece. (5) We shall discuss more particulars of
articulation in the "Continuing" chapter; what concerns us here is the role of articulation as a
fundamental process of musical hearing.
Rate of presentation of information
Closely related to the effects of articulation is the issue of the speed at which new elements
arrive, and the prominence of the changes: if articulation is brusque, change will be more
In general, the psychological effects of the rhythm of presentation of new information to the
listener allow the composer access to a continuum of character effects ranging from very restless
to very calm. The quicker the pacing of new events, the more demanding is the job of the
listener, and consequently, the more exciting the effect.
Tchaikovsky, Symphony #6, 2nd movement. Here is an example where new elements are
presented gradually, reinforcing the relaxed and gracious character of the movement:
m. 1: the theme is first presented in a light setting
m. 8: the celli add new momentum with their scale in 8th notes. These 8th notes are
echoed in m. 10, m. 12, m. 14, and m. 16 (a and b)
m. 17: winds and horns now make the 8th notes continuous
m. 25: the continuous 8th notes become more prominent, now in the strings.
Schubert, String Quartet #9, 1st movement. Here a more restless character results fromsuccessive introduction of more contrasting material (reinforced by sudden dynamic changes):
m.1-4: the first phrase already contains a strong contrast between the monophonic half
notes of the first bar and the short chords of m. 3-4.
After an answering phrase in m. 5-8, a new nervous figure in 8th notes leads immediately
to yet another motive (vln. 1, m. 9-10).
A climax arrives at m. 13, bringing with it yet another new element: syncopation.
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