100% in agreement. Developing that inner ear is immeasurably valuable, but it takes effort, and that effort is made only when there's motivation. Having only oneself to rely on provides the context for that motivation. (HA! Can you guess MY occupation?)
t. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ “Fairy tales are more than true: not because they tell us that dragons exist, but because they tell us that dragons can be beaten.” ~ Neil Gaiman ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Tom Cloyd, MS MA LMHC (WA) | t...@tomcloyd.com Psychotherapist (psychological trauma, dissociative disorders) Spokane, Washington, U.S.A: (435) 272-3332 TomCloyd.com <http://www.tomcloyd.com/> | Google+ <https://plus.google.com/u/0/communities/106042234820400717450> | Facebook <https://www.facebook.com/groups/645665272216298/> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ On Fri, Mar 23, 2018 at 1:18 AM, Frauke Jurgensen <frauk...@gmail.com> wrote: > I would agree with those who counsel paper and pencil for the > compositional process itself. I would also argue that developing the link > between notation and your inner ear is extremely helpful if you're going to > use notation, and that software with playback features can be > counterproductive in getting people to develop that link. I ban my students > from using notation software in first year, at least, and strongly > discourage it among more advanced students. > > On Fri, 23 Mar 2018, 07:38 Henning Hraban Ramm, <lilypon...@fiee.net> > wrote: > >> I as a singer/songwriter with limited notational skills also use pen and >> staff paper for the first draft(s) but then need a tool that lets me hear >> if I got the rhythm right. (Even if that’s always a matter of >> interpretation and may change in every verse.) >> And as a quality aware typesetter and a programmer I just love LilyPond. >> But if I’m trying several rhythmic variants (syncopes, triplets), because >> I often don’t know what it is exactly what I hear in my head, it’s a >> tedious approach to e.g. change several places and maybe voices from >> syncopation to tuplets and back, or is it a timing change... Some of my >> songs are quite irregular, but I want proper sheets. >> >> Greetlings, Hraban >> --- >> fiëé visuëlle >> Henning Hraban Ramm >> http://www.fiee.net >> >> >> Am 2018-03-23 um 04:34 schrieb Tom Cloyd <tomcloydm...@gmail.com>: >> >> > I have always found that nothing beats plain pencil and sheets of staff >> paper, until I have the basic piece fairly complete. For me, it's clearly >> faster to make even a second draft on paper than to move at that point to >> LP and continue from there. I consider fast "hand writing" on staff paper >> to be a basic composing skill, long used by those who come before us. >> > >> > Working this way, alterations are so much easier, in the initial >> stages. Later, I find the reverse to be true. I do love getting to the >> point where it's time to produce an actual engraved score, but revisions >> certainly do continue after that. >> > >> > Tom >> > >> > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >> > >> > “Fairy tales are more than true: not because they tell us that dragons >> exist, but because they tell us that dragons can be beaten.” ~ Neil Gaiman >> >> >> >> _______________________________________________ >> lilypond-user mailing list >> lilypond-user@gnu.org >> https://lists.gnu.org/mailman/listinfo/lilypond-user >> > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > >
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