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Inflections of 作曲

Plain
Polite
Form
Affirmative
Negative
Affirmative
Negative
Basics
Dictionary form — present & future
作曲する
さっきょくする
作曲しない
さっきょくしない
作曲します
さっきょくします
作曲しません
さっきょくしません
Completed — 'did, was'
作曲した
さっきょくした
作曲しなかった
さっきょくしなかった
作曲しました
さっきょくしました
作曲しませんでした
さっきょくしませんでした
Connector — 'and…', requests
作曲して
さっきょくして
作曲しなくて
さっきょくしなくて
作曲しまして
さっきょくしまして
作曲しませんで
さっきょくしませんで
Bare stem — builds other forms
作曲
さっきょく
Volition & command
'Let's' / intention
作曲しよう
さっきょくしよう
作曲するまい
さっきょくするまい
作曲しましょう
さっきょくしましょう
作曲しますまい
さっきょくしますまい
Blunt command — 'do it!'
作曲しろ
さっきょくしろ
作曲する
さっきょくする
作曲しなさい
さっきょくしなさい
作曲しなさるな
さっきょくしなさるな
Voice & causation
Ability — 'can do'
作曲できる
さっきょくできる
作曲できない
さっきょくできない
作曲できます
さっきょくできます
作曲できません
さっきょくできません
Done to the subject — 'is …-ed'
作曲される
さっきょくされる
作曲されない
さっきょくされない
作曲されます
さっきょくされます
作曲されません
さっきょくされません
Make / let someone do
作曲させる
さっきょくさせる
作曲させない
さっきょくさせない
作曲させます
さっきょくさせます
作曲させません
さっきょくさせません
Made to do (unwillingly)
作曲させられる
さっきょくさせられる
作曲させられない
さっきょくさせられない
作曲させられます
さっきょくさせられます
作曲させられません
さっきょくさせられません
Conditionals
'If' condition (~eba)
作曲すれば
さっきょくすれば
作曲しなければ
さっきょくしなければ
作曲しますなら
さっきょくしますなら
作曲しませんなら
さっきょくしませんなら
'When / if' (~tara)
作曲したら
さっきょくしたら
作曲しなかったら
さっきょくしなかったら
作曲しましたら
さっきょくしましたら
作曲しませんでしたら
さっきょくしませんでしたら
List actions among others (~tari)
作曲したり
さっきょくしたり
作曲しなかったり
さっきょくしなかったり
作曲しましたり
さっきょくしましたり
作曲しませんでしたり
さっきょくしませんでしたり

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Common N3
Pitch accent
きょ Heiban (平板型)
Meaning English · JMdict
  1. 1
    composition (of music);setting;writing music
    This music was composed by Bach.
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From Wikipedia
English Wikipedia

Musical composition can refer to an original piece of music, either a song or an instrumental music piece, the structure of a musical piece, or the process of creating or writing a new song or piece of music. People who create new compositions are called composers in classical music. In popular music and traditional music, the creators of new songs are usually called songwriters; with songs, the person who writes new words for a song is the lyricist. "Composition" is the act or practice of creating a song or other piece of music. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score", which is then performed by the composer or by other instrumental musicians or singers. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, countermelody, bassline and so on) is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all, and instead compose the song in her mind and then play, sing and/or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music. Although a musical composition often uses musical notation and has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when all of the members of a band collaborates to write a song, or in musical theatre, when one person writes the melodies, a second person writes the lyrics, and a third person orchestrates the songs. A piece of music can also be composed with words, images, or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from 20th century avant-garde music that uses graphic notation, to text compositions such as Karlheinz Stockhausen's Aus den sieben Tagen, to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music, and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman, and Witold Lutosławski. A more commonly known example of chance-based music is the sound of wind chimes jingling in a breeze. The study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough the creation of popular music and traditional music songs and instrumental pieces and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers. Although in the 2000s, composition is considered to consist of the manipulation of each aspect of music (harmony, melody, form, rhythm, and timbre), according to Jean-Benjamin de Laborde (1780, 2:12): Composition consists in two things only. The first is the ordering and disposing of several sounds...in such a manner that their succession pleases the ear. This is what the Ancients called melody. The second is the rendering audible of two or more simultaneous sounds in such a manner that their combination is pleasant. This is what we call harmony, and it alone merits the name of composition.

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The rounded, flowing kana. Hiragana writes native Japanese words, grammar endings, and anything without (or alongside) kanji — it's the first script you learn. Each character stands for one syllable.

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