I need a proper bassists opinion :help:

[MrLenny1]

I like it a lot. It is freestyle & some legits will critique that but don't give up on your dream yet.

 

[Bainbridge]

@Bainbridge You seriously have given the best constructive criticism (specifically form which was the biggest problem with the piece) that ive ever received musically and I would like to thank you and insist you make a extremely comfortable living doing so. As for how I want to approach music scholastically is still a subject of debate but any and all knowledge of music is what im striving for..if you have suggestions I would be more then open to them.

First, decide what you want to do with the degree you receive. Do you want to compose for a living? Engineer? Perform? Teach? Do therapy? Look ahead a little, figure out what you would like to do every day for the rest of your life. It doesn't have to be a firm decision, and your opinion on what is best for you will undoubtedly change as you proceed. Music students have to audition and do interviews; it helps to show that you are thinking in the long term, and it's generally a good way to think of things anyway. You probably don't have much of a musical opinion yet, but try to zero in on your values. This is especially important for composers, because we are informed by our ethics and ideas. Next, take a little time to read up on the department and faculty. Get an idea of their expectations, and whether you want to actually do their program. When you do get in, be prepared to suffer. I had great semesters when I could take 24 units (12 being full time) and get straight A's, and I had semesters when I took 12, struggled, and had terrible depression. We all have our ups and downs. Now, a bit of musical advice: study the music of J.S. Bach religiously. I have had many moments of clarity by playing the two-part inventions (and I'm a crappy keyboardist); his use of harmony, counterpoint, melody, form, and emotion are an inexhaustible handbook for composers.

@bainbridge’s next comment in the thread
Your points reflect my thinking exactly. Back to my extended metaphor id like to be able to use a larger toolkit when building my music. Something I think studying music at a higher level will provide me.

One of the better things about music school is the immersion that you experience. You'll be in a program with a bunch of other musicians with the same goal, and all of your coursework is relevant to the goal of making and understanding music. I could teach you a few years worth of composition and theory classes in a few weeks, but I couldn't replicate the environment of having hundreds of friends and classmates following a music curriculum. It's a good place to make friends.

Hahahaha that was a great counter argument. Although I didn’t know that, Miles davis a big influence on me (probably most musicians).

Miles knew what was up, and while true, that phrase has a lot of weight on it. Any note is accessible at any given time, but it comes with the stipulation that you know what to do with the harmony. For example, D as a melody note over an A major triad is a dead wrong note. If you hang out there and end your phrase there while that same chord is going, it will sound really awful. Make it a part of a line like C# D E, or the retrograde of that (E D C#), and you'll be fine, because D is surrounded by the "right" notes there. I might add to those words by saying, "There are no wrong notes, just poor decisions."

He is a great teacher and person, which is why this email stung a little. I think the harshness was motivational so I credit him.

I had a few discussions like that, and while they arrested me at the time, getting it straight ultimately helped me to proceed.

@bainbridge again!
I will start working on other pieces and post them in different threads following the requirements that are expected. Again your advice is extremely helpful and im going to PM you as soon as I start another thread so I can get some of your advice on there.(whether you do is entirely up to you though haha)

Please do. Your piece reminded me of the first movement of this piece: Invalid Link Removed

There is a lot of play on the timbre of the instruments there. The form isn't very tight (at first – everything comes together in the fourth movement), but the composer is purposely suspending formal organization for the effect of meditating on a question.

 

[obimark]

It reminds me of is movie background music, not a "song" per say, and that is what your professor is honestly telling you. I have said it before, bass just isn't much of a "solo" instrument, it gets real old fast for most people, myself included, and I have played bass for over 20 years.
I know it can be done, but I don't want to hear it for a whole concert or even a whole song. And by solo instrument I mean like your composition just BASS, Marcus Miller doesn't play solo bass as he has drums, and horns, keys, etc... BIG difference, he just plays some lead melodies on his bass.

 

[PipeRain]

OP : I have nothing constructive to add, as my skill, technique and knowledge of music are light years behind yours. I would however, like to chine in and say that I found it very interesting and enjoyable to listen to. My decidedly non-musically inclined fiancée asked me what I was listening to and when I told her, she said "I think it's beautiful!"

 

[Groove Doctor]

@OP:
1. You're teacher was too harsh - his letter sounds like Abraham Simpson wrote it (the Grandpa from the Simpsons)

2. I didn't pursue advanced music study as I couldn't stand the incestuous, narrow minded teachers/ culture/ attitudes.

3. I studied and later taught at University myself, and it's worse than I ever thought possible.


I will say this - when writing an essay, you'll always get the best marks by repeating back to the teacher WHAT THEY WANT TO HEAR. Your teacher didn't hear what he wanted to hear.



PS. Sting and Bono were both told they couldn't sing when they were younger. And Michael Jordan was cut from his school basketball team.....

 

[HeavyJazz]

It's important to master the fundamental forms before venturing forth. Without a point of reference there's no basis of what is creative, listenable, etc. Relatively is a concept that may feel good when we're in dire straits, but it isn't a basis grounded in truth. Your keeness is a good sign - do some homework, hone your skills, THEN crush!

 

[Kmonk]

I'll try to be honest without being brutal. I had difficulty listening to your recording; for me, there was no "there" there.

Imagine you were trying to describe your "composition" to an educated/accomplished musician who had never heard your recording. What words would you use? How would you describe your song using standard musical terminology?

What kind of language might a music professor use to describe your "composition" to a class full of music students?
Meter signature
Rhythmic structure
Modality
Choral progression
Melody
Phrasing
Dynamics
etc.

I agree with this. Not trying to be rude but I felt that there was too much emphasis on effects and not enough on playing and technique. I couldn't figure out what the intention of the song was or where it was going. There was no groove to it and it lacked feeling.

 

[M0ses]

I didn't read the entire thread. Sorry! So this may have been said already.

Three year college music student here, I dropped out because music school is not for everyone. I learned everything there is to know about theory and form though. And plenty of stuff that was just worthless.

Your song is interesting. The individual parts have a lot of interesting ideas, in my opinion. As far as "your music needs to go somewhere," I'm going to interpret it this way: the parts were good, but they don't seem to relate to each other well. They could each be a different song. You need to find some way to bring all of these ideas together. The transitions between ideas are especially inorganic. Non-fluid.

But yeah, do not be discouraged. Composing is really hard. You've got a great start, don't worry! Just keep trying, keep your ears open at all times (this is the number one most important thing in every aspect of music), and listen to what anyone and everyone has to say about your music. You don't have to agree with them or take their suggestions, but you should hear them.

 

[topo morto]

Not sure if anyone else mentioned this but the production is not good to my ears - clumsily soaked in reverb.

Not hating, great playing.