Composer and Bassoonist Jamie Leigh Sampson is working to compile a complete resource of contemporary techniques for the bassoon. This will be a valuable resource for composers and bassoonists alike. In order to help fund the research and creation of this book Jamie has organized a funding drive on kickstarter.com.
Here is a statement from Jamie Leigh Sampson about the project.
“This is truly an exciting project that will benefit many contemporary musicians. Composers will, for the first time, have access to a book that includes close to 200 reliable multiphonics for the bassoon, as well as the description, range, dynamic possibilities, notation suggestions, and execution instructions for about 15 other types of contemporary techniques. The bassoon is an extremely versatile instrument that has the potential to be incorporated into a variety of new works, especially chamber music. The aim of this project is to ensure that bassoonists everywhere can play each sound notated by contemporary composers by giving both a thoroughly tested and refined resource.
The Kickstarter.com project will raise funds to:
• Compensate the bassoonists participating in this research
• Cover cost of the initial printing
• Publicity
• The commissioning of a new work for bassoon and electronics
• Other equipment necessary for the completion of this book
Please watch the video at Contemporary Techniques for the Bassoon and check out the contemporary techniques page on the author’s website www.jamieleighsampson.com. If you have any questions please email contemporary.bassoon@gmail.com”
Showing posts with label Techniques. Show all posts
Showing posts with label Techniques. Show all posts
Saturday, January 29, 2011
Tuesday, November 30, 2010
Concerning the Audience: Part 2
I have been thinking about the article I wrote about Górecki's quote about the audience. One phrase has come to mind a few times that has some bearing on this subject. That is: not wanting to choose is a choice. Quite simply, telling someone else to choose or refusing to make a decision is a choice. The difference is that you are not concerned with the outcome of the decision making process.
When Górecki says, "I never write for my listeners" what he is really saying is that he is not writing what he thinks they would like. He is composing what he wants. Górecki further comments that, "I think about my audience, but I am not writing for them." This statement is the key. As composers we do think about the audience. Our hope is that people will listen to the music we have composed. The music should say what the composer wants and not what the composer thinks the audience wants to hear.
The point I am making here is that all composers are concerned about their audience. We want the audience to listen. Without them, there would be no reason to compose music. The integrity of the music begins to be compromised when the composer concerns his or herself with what the audience may or may not want to hear. My hope is that the audience will enjoy something new and take what they want away from the experience when they listen to my music.
When Górecki says, "I never write for my listeners" what he is really saying is that he is not writing what he thinks they would like. He is composing what he wants. Górecki further comments that, "I think about my audience, but I am not writing for them." This statement is the key. As composers we do think about the audience. Our hope is that people will listen to the music we have composed. The music should say what the composer wants and not what the composer thinks the audience wants to hear.
The point I am making here is that all composers are concerned about their audience. We want the audience to listen. Without them, there would be no reason to compose music. The integrity of the music begins to be compromised when the composer concerns his or herself with what the audience may or may not want to hear. My hope is that the audience will enjoy something new and take what they want away from the experience when they listen to my music.
Sunday, November 28, 2010
Concerning the Audience
As I was doing some research on Henryk Górecki, I came across a statement made by the composer. In a 1994 interview Górecki discussed the audience and the potential influence on his music. He said,
I believe that composing for the audience could compromise the integrity of the music. As a composer I agree with Górecki. I know and understand that there will be people who do not like my music. That is fine. I do not want to get caught up in composing "music for the masses." I want to compose music that says what I have to say.
As an audience member, I truly appreciate Górecki's comments. I enjoy listening to music that challenges me and expands my musical horizons. I do not want to hear music by a composer who is concerned about his or her audience. I have heard pieces like this and you can tell that the composer is trying too hard to please the audience. These piece tend to be predictable, because there is nothing new that the composer is saying.
I believe that Górecki is on to something when he says "the audience must also put a certain effort into it." An exciting aspect of music is interpretation. Interpretation comes not only from the performer, but the listener as well. Each member of the audience can take different things away from the performance. Even multiple performances by different performers can elicit different responses from the same audience. This is why it would be difficult to compose for the audience. It is also what makes music enjoyable.
I do not choose my listeners. What I mean is, I never write for my listeners. I think about my audience, but I am not writing for them. I have something to tell them, but the audience must also put a certain effort into it. But I never wrote for an audience and never will write for because you have to give the listener something and he has to make an effort in order to understand certain things. If I were thinking of my audience and one likes this, one likes that, one likes another thing, I would never know what to write. Let every listener choose that which interests him. I have nothing against one person liking Mozart or Shostakovich or Leonard Bernstein, but doesn't like Górecki. That's fine with me. I, too, like certain things.This quotation really resonates with me. Often colleagues of mine would comment about how they would tailor their music to the audience's supposed likes and dislikes. They would intentionally avoid composing certain things because they want the audience to like their music.
I believe that composing for the audience could compromise the integrity of the music. As a composer I agree with Górecki. I know and understand that there will be people who do not like my music. That is fine. I do not want to get caught up in composing "music for the masses." I want to compose music that says what I have to say.
As an audience member, I truly appreciate Górecki's comments. I enjoy listening to music that challenges me and expands my musical horizons. I do not want to hear music by a composer who is concerned about his or her audience. I have heard pieces like this and you can tell that the composer is trying too hard to please the audience. These piece tend to be predictable, because there is nothing new that the composer is saying.
I believe that Górecki is on to something when he says "the audience must also put a certain effort into it." An exciting aspect of music is interpretation. Interpretation comes not only from the performer, but the listener as well. Each member of the audience can take different things away from the performance. Even multiple performances by different performers can elicit different responses from the same audience. This is why it would be difficult to compose for the audience. It is also what makes music enjoyable.
Monday, October 18, 2010
Color and Wind Ensemble Music
When I think back to the music I played in high school concert band I think about straight-forward harmonic progressions and lyrical melodies. I cannot recall any music we performed that focused on texture and timbre. Of course the composers select the instrumentation with a particular sound in mind. However, melody and harmony were still the focus points of the music.
In composing Time in Memoriam I am attempting to bring forward the elements of color: texture and timbre. In doing so I hope to challenge the performers and add my own voice to the repertoire. The color elements will be the main focus in the first and last sections of the piece. I do have melodies and themes that I will include in this piece. Also, the B section is still going to be rhythmically and thematically driven as I have indicated in the past.
I do need to keep in mind the level of the performers for this piece. As I compose these sections I need to make sure that there are aspects of the music that the performers can understand. Often when working with younger performers they become focused on playing the right notes and aspects like balance and the entirety of the ensemble become forgotten, especially in abstract music. With that said, creating themes and textures that the performers can latch on to is important. This helps the understanding which in turn allows for a better performance.
This will be a challenge for me as I compose these sections. I have a tendency to think that the performers will understand what I am trying to convey without much direction. Younger and less experienced performers can understand this type of music with clear directions. I do believe that this stylistic choice can be successful if composed properly.
In composing Time in Memoriam I am attempting to bring forward the elements of color: texture and timbre. In doing so I hope to challenge the performers and add my own voice to the repertoire. The color elements will be the main focus in the first and last sections of the piece. I do have melodies and themes that I will include in this piece. Also, the B section is still going to be rhythmically and thematically driven as I have indicated in the past.
I do need to keep in mind the level of the performers for this piece. As I compose these sections I need to make sure that there are aspects of the music that the performers can understand. Often when working with younger performers they become focused on playing the right notes and aspects like balance and the entirety of the ensemble become forgotten, especially in abstract music. With that said, creating themes and textures that the performers can latch on to is important. This helps the understanding which in turn allows for a better performance.
This will be a challenge for me as I compose these sections. I have a tendency to think that the performers will understand what I am trying to convey without much direction. Younger and less experienced performers can understand this type of music with clear directions. I do believe that this stylistic choice can be successful if composed properly.
Sunday, September 12, 2010
Is it stealing?
I have noticed a trend recently in the music I have been composing. I have been taking themes or in some cases whole movements from one piece of mine and using them in a completely different piece (i.e. Trackings No. 2 taken from Birches). I am not recomposing the same piece when I do this. In fact the pieces that I take themes or movements from are "dead" pieces. This means that I have no intention on continuing these pieces. Of ten there are some interesting melodic or thematic ideas that I was either unable to develop to develop at the time or never got the chance to because of other projects.
To answer the question posed in the title, no it is not stealing. Can someone really steal from themselves? I think there are instances in which someone can. However, what I am doing is taking from pieces that will otherwise go unfinished.
This is the case with Fate of the Future. This is a wind ensemble piece I began sketching in 2001. There are a couple of melodies and themes that I have always liked in the piece. However I was unable to develop those ideas at the time and complete the piece. I have decided to adapt those melodies and themes into Time in Memoriam since I feel that they would work well for this piece.
One day I do plan on composing a piece titled Fate of the Future. I like this title and I am going to keep it in mind. Right now I am just not sure what this piece will be. All I know is that I will not be using the music from the original sketch. It will be an all-new piece.
To answer the question posed in the title, no it is not stealing. Can someone really steal from themselves? I think there are instances in which someone can. However, what I am doing is taking from pieces that will otherwise go unfinished.
This is the case with Fate of the Future. This is a wind ensemble piece I began sketching in 2001. There are a couple of melodies and themes that I have always liked in the piece. However I was unable to develop those ideas at the time and complete the piece. I have decided to adapt those melodies and themes into Time in Memoriam since I feel that they would work well for this piece.
One day I do plan on composing a piece titled Fate of the Future. I like this title and I am going to keep it in mind. Right now I am just not sure what this piece will be. All I know is that I will not be using the music from the original sketch. It will be an all-new piece.
Tuesday, September 7, 2010
Diagrammatic Sketch Done
Yesterday I finished the sketch portion of the diagrammatic sketch for Time in Memoriam. This sketch consists of colors and shapes that represent the contours and groupings for the music in this piece. The spatial relationships of the shapes represent the approximate placement and duration that will occur in the piece.
Today I was able to finish the other portion of the sketch: the labeling. To facilitate this I placed overhead transparencies over the color sketch and used wet-erase markers to label and describe the various shapes. I use the transparencies because I may decide to change my mind about what I label. I can easily erase the markings and rewrite them. Also, this allows me to not ruin the full-color sketch with these markings.
The advantage of a sketch like this is that I now have a good idea of the scope and shape of Time in Memoriam. The sketch is to be used as a reference. If I feel that sections need to be cut or added then I can choose to do so. It is not necessary to revise the diagrammatic sketch if I make changes. The point of this sketch is to be used as a pre-compositional device. It does not need to reflect the final version of the piece.
Today I was able to finish the other portion of the sketch: the labeling. To facilitate this I placed overhead transparencies over the color sketch and used wet-erase markers to label and describe the various shapes. I use the transparencies because I may decide to change my mind about what I label. I can easily erase the markings and rewrite them. Also, this allows me to not ruin the full-color sketch with these markings.
The advantage of a sketch like this is that I now have a good idea of the scope and shape of Time in Memoriam. The sketch is to be used as a reference. If I feel that sections need to be cut or added then I can choose to do so. It is not necessary to revise the diagrammatic sketch if I make changes. The point of this sketch is to be used as a pre-compositional device. It does not need to reflect the final version of the piece.
Thursday, August 26, 2010
Whoops, my bad!
It is funny. Numbers have a way of obscuring themselves in my head. I realized the other day that sections of the diagrammatic sketch I have been working on are proportionally wrong. The opening sound walls in the low brass and percussion are twice as long as they need to be. These walls are made of four pulses that last two measures each. This makes eight measures. Eight is the number I had in my head when I went to figure out the approximate duration of these sound walls. I had reminded myself not to forget to double the number of measures as each pulse is two measures long. So that is what I did. I counted these walls as sixteen measures and at the tempo indicated each would be about forty-five seconds.
As I continued to work on the sketch I began to become concerned that the piece would get to be way too long. So I looked back and began to time the sections in the opening. The sound walls came out to twenty to twenty-five seconds each. I was confused. I looked back at the sketch and realized what the mistake was. I factored each of these sections for sixteen measures instead of eight measures, which they really are.
To deal with this there are three options. I can start the whole sketch over. I can re-sketch the opening or the parts that are currently "correct" in proportion. I can leave it alone and make notes on the sketch about the proportions. I do not like this last option. To me this will give the sketch an accordion-like feel. This sketch is designed in part to be relatively proportional. Variations where time is doubled would alter my intention for this type of sketch.
I need to look at the sketch as it is and decide how much work there would be to redo the whole thing. Fortunately I was only about one-third of the way done so I do not think it would be too much of a set back to rework the whole sketch.
As I continued to work on the sketch I began to become concerned that the piece would get to be way too long. So I looked back and began to time the sections in the opening. The sound walls came out to twenty to twenty-five seconds each. I was confused. I looked back at the sketch and realized what the mistake was. I factored each of these sections for sixteen measures instead of eight measures, which they really are.
To deal with this there are three options. I can start the whole sketch over. I can re-sketch the opening or the parts that are currently "correct" in proportion. I can leave it alone and make notes on the sketch about the proportions. I do not like this last option. To me this will give the sketch an accordion-like feel. This sketch is designed in part to be relatively proportional. Variations where time is doubled would alter my intention for this type of sketch.
I need to look at the sketch as it is and decide how much work there would be to redo the whole thing. Fortunately I was only about one-third of the way done so I do not think it would be too much of a set back to rework the whole sketch.
Friday, August 20, 2010
Sculpting and Moulding
The composition process for Trackings No. 2 has been quite different than most other pieces of mine. This is due to the fact that I am starting with sketches of a "failed" piece and revising and expanding it by adding piano. By no means am I merely adding the piano and redistributing the principle and accompanimental materials. Actually, I have been adding layers creating at times more intricate counterpoint. I have also been adding measures where appropriate for phrasing or other purposes and cutting measures for sections that do not work or fit the scope of the movement.
In Trackings No. 2 my goal is to compose a series of short movements. Each movement no longer than two minutes. This is a challenge for me as each movement will have a beginning and an end. There is little room for development in a piece like this. I am more accustomed to writing music that develops of time creating a journey. I can see this type of piece as an analog to an author writing short stories rather than full-length novels.
In addition to the short movement format the other challenge, mentioned earlier, is starting with an older sketch. There are times in which I feel as if I am sculpting a piece rather than composing it. A sculptor starts with a lump of clay or a block of stone and reshapes it into the form of his or her vision. In my case the sketches for Birches is my lump of clay.
I like this analogy. It goes to show that there are many cross relations between the arts. What makes this instance a little more interesting is that Trackings No. 2 is a collaborative work with photographer Micheal Vickers, yet another facet in the cross-relation between the arts.
In Trackings No. 2 my goal is to compose a series of short movements. Each movement no longer than two minutes. This is a challenge for me as each movement will have a beginning and an end. There is little room for development in a piece like this. I am more accustomed to writing music that develops of time creating a journey. I can see this type of piece as an analog to an author writing short stories rather than full-length novels.
In addition to the short movement format the other challenge, mentioned earlier, is starting with an older sketch. There are times in which I feel as if I am sculpting a piece rather than composing it. A sculptor starts with a lump of clay or a block of stone and reshapes it into the form of his or her vision. In my case the sketches for Birches is my lump of clay.
I like this analogy. It goes to show that there are many cross relations between the arts. What makes this instance a little more interesting is that Trackings No. 2 is a collaborative work with photographer Micheal Vickers, yet another facet in the cross-relation between the arts.
Sunday, August 15, 2010
Composing Session: August 14, 2010
Yesterday, I began working on expanding the fourth movement of Trackings No. 2. I moved to the fourth movement from the second because I need to take a close look at the third movement before I can work on it. I may need to reconsider some of the techniques I use in that movement. I felt that my time is better served right now working on the fourth movement as I have a good idea of how to expand and revise this movement.
The primary melodic ideas are composed in 4/4 meter. However, instead of the typical eighth note groupings of four groups of two, I use the grouping 3+3+2. This grouping allows for an asymmetrical feel within a symmetrical meter. Most of what I was able to accomplish on this movement was making editorial notes for what I intend for the piano to do on the original cello and double bass sketch. In the next day or two I plan on incorporating these edits into the score.
The main thing I worked on yesterday was the diagrammatic sketch for Time in Memoriam. I began by reviewing my notes for the types of elements I wanted to include within each section of the form. After adding a few more notes, I began to sketch the shapes and colors for the first two-and-a-half to three minutes of the piece. Eventually I will go into more details about this type of sketch, but suffice it to say that these shapes and colors will help me to identify which instruments will be playing where and for approximately how long. When I created this type of sketch for Obscured Ruminations, it gave me a complete picture of how I wanted the piece to unfold. I thought that it would benefit me to do this type of sketch for this piece. So far I think it has as I am beginning to get a clear idea of the scope of this piece.
The primary melodic ideas are composed in 4/4 meter. However, instead of the typical eighth note groupings of four groups of two, I use the grouping 3+3+2. This grouping allows for an asymmetrical feel within a symmetrical meter. Most of what I was able to accomplish on this movement was making editorial notes for what I intend for the piano to do on the original cello and double bass sketch. In the next day or two I plan on incorporating these edits into the score.
The main thing I worked on yesterday was the diagrammatic sketch for Time in Memoriam. I began by reviewing my notes for the types of elements I wanted to include within each section of the form. After adding a few more notes, I began to sketch the shapes and colors for the first two-and-a-half to three minutes of the piece. Eventually I will go into more details about this type of sketch, but suffice it to say that these shapes and colors will help me to identify which instruments will be playing where and for approximately how long. When I created this type of sketch for Obscured Ruminations, it gave me a complete picture of how I wanted the piece to unfold. I thought that it would benefit me to do this type of sketch for this piece. So far I think it has as I am beginning to get a clear idea of the scope of this piece.
Saturday, August 14, 2010
Collecting my thoughts
There are a lot of different ideas running around in my head for Time in Memoriam. At times these thoughts and ideas become overwhelming because I am unable to write to write some of them down and sometimes I just do not know where to begin. Instead of jumping in and composing the piece, I thought that it would be a good idea for me to step back and try to get a clear picture of the scope of the piece before zooming in and focussing on the actual music.
On Thursday I decided to approach this piece in a manner similar to that which I used in composing my Master's Thesis, Obscured Ruminations. First off I considered form. What type of form do I want to use? The potential proportions of each section. After that I thought about the structure of each section of the form. Do I want to use specific forms within the larger form?
After the issues of form were decided I started to make notes about what types of things I wanted to include in each section of the form. Mostly, these notes are in general terms, though there are a few specific ideas which I already had in mind.
All of this leads up to my next step, which I will work on a bit today. I am going to make a diagrammatic sketch of the piece. This sketch is going to be a graphic representation of the contour, density, texture and color of the piece. This was something that I did before composing Obscured Ruminations and it really helped me to understand the overall scope of the piece before taking on the sometimes daunting task of composing a large ensemble piece.
So far the outline I have created for Time in Memoriam works for me. I now have a good idea of the scope of the piece. As I create the diagrammatic sketch, the piece will come into focus allowing me to be able to understand the concepts of the piece and how it will unfold over time.
On Thursday I decided to approach this piece in a manner similar to that which I used in composing my Master's Thesis, Obscured Ruminations. First off I considered form. What type of form do I want to use? The potential proportions of each section. After that I thought about the structure of each section of the form. Do I want to use specific forms within the larger form?
After the issues of form were decided I started to make notes about what types of things I wanted to include in each section of the form. Mostly, these notes are in general terms, though there are a few specific ideas which I already had in mind.
All of this leads up to my next step, which I will work on a bit today. I am going to make a diagrammatic sketch of the piece. This sketch is going to be a graphic representation of the contour, density, texture and color of the piece. This was something that I did before composing Obscured Ruminations and it really helped me to understand the overall scope of the piece before taking on the sometimes daunting task of composing a large ensemble piece.
So far the outline I have created for Time in Memoriam works for me. I now have a good idea of the scope of the piece. As I create the diagrammatic sketch, the piece will come into focus allowing me to be able to understand the concepts of the piece and how it will unfold over time.
Thursday, June 3, 2010
The power of 3
My sketch score for Night Sky is predominantly an outline of the major themes, harmonies, rhythmic groupings and some counterpoint. As I orchestrate the piece I find that I need to expand on my outline. Aside from the usual octave (orchestral) doublings I need to add some inner voices. I have been looking back at my previous wind ensemble piece Homage. I found that I used quite a bit of parallel motion in thirds. Not all of the motion is in thirds. Some deviation is necessary to keep within the harmonic world.
I applied this technique to the theme that is heard over the ostinato beginning at measure 37. Immediately I noticed a fuller sound when listening to the MIDI playback. It is almost as if another dimension is added to the sound.
Of course I do not consider these remarks and ideas revolutionary. They are techniques I have known and previously used. I have composed primarily chamber music over the past few years. So I do feel like I am rediscovering useful techniques.
I applied this technique to the theme that is heard over the ostinato beginning at measure 37. Immediately I noticed a fuller sound when listening to the MIDI playback. It is almost as if another dimension is added to the sound.
Of course I do not consider these remarks and ideas revolutionary. They are techniques I have known and previously used. I have composed primarily chamber music over the past few years. So I do feel like I am rediscovering useful techniques.
Monday, May 31, 2010
Orchestration process
I spent part of the day yesterday orchestration the first forty-five to fifty measures of Night Sky. So far the orchestration has been a fun process. It is rewarding to see the full realization of my music. While I have not yet finished all of the layer of this section, the big picture is coming into focus. From time to time I do need to remind myself to be consistent in the orchestration. Fortunately, Adam had sent me suggestions as to typical doublings/groupings in middle school band music.
Contrary to my normal (preferred) routine I am orchestrating Night Sky directly into Finale. I usually like to have a sketch of the full score prior to entering the piece into Finale. However, I feel as if that step would require a lot of extra time that I do not wish to spend. One advantage of orchestrating into Finale is that I can "listen" to the piece through the MIDI playback feature. While I do not like the quality of playback it is a useful tool for pacing and sonic issues. I think that this type of playback only gives the listener a vague idea of what the piece will sound like. I have already noticed one or two pacing issues that I was able to fix by listening to this playback method, so it is not without its benefits.
I am going to continue to plug away at the orchestration and I may possibly be able to send Adam the first couple of pages by the weekend.
Contrary to my normal (preferred) routine I am orchestrating Night Sky directly into Finale. I usually like to have a sketch of the full score prior to entering the piece into Finale. However, I feel as if that step would require a lot of extra time that I do not wish to spend. One advantage of orchestrating into Finale is that I can "listen" to the piece through the MIDI playback feature. While I do not like the quality of playback it is a useful tool for pacing and sonic issues. I think that this type of playback only gives the listener a vague idea of what the piece will sound like. I have already noticed one or two pacing issues that I was able to fix by listening to this playback method, so it is not without its benefits.
I am going to continue to plug away at the orchestration and I may possibly be able to send Adam the first couple of pages by the weekend.
Saturday, May 29, 2010
Sketch score complete
Yesterday I was able to complete the sketch score for Night Sky. After a long process that has taken the form and scope through three different phases, the piece is sketched. Night Sky ended up being a single movement work. I am quite relieved that the sketch process is finished.
My next step is to orchestrate the piece. During this process I will add additional layers of counterpoint or sustained chords as I feel necessary. It has been a long time since I composed a piece for this large of an ensemble. I look forward to orchestrating Night Sky. I have always enjoyed the orchestration process. To me it is a different type of compositional process that is almost like painting. It is in this process that color is added giving the piece its sound world. My hope is to have the orchestration done by mid-June.
My next step is to orchestrate the piece. During this process I will add additional layers of counterpoint or sustained chords as I feel necessary. It has been a long time since I composed a piece for this large of an ensemble. I look forward to orchestrating Night Sky. I have always enjoyed the orchestration process. To me it is a different type of compositional process that is almost like painting. It is in this process that color is added giving the piece its sound world. My hope is to have the orchestration done by mid-June.
Wednesday, March 31, 2010
Diagrammatic Sketches - Part 1
In a previous post I talked about how I was able to organize my musical thoughts by creating a diagrammatic sketch. For me these sketches can take on a variety of forms. I have done sketches that focus on shapes, rhythmic and melodic fragments or even colors. One aspect that makes these sketches different from sketch scores or other types of sketches is that they are done primarily away from staff paper.
I believe that the best way for me to explain these sketches is through examples. I plan on covering diagrammatic sketches in a series of postings, each one focusing on a different type of sketch. I do not favor any one style of diagrammatic sketch over another. When needed, I tend to go with whichever type of sketch I feel best suits my needs.
In this first part I will discuss my most recent sketch. This sketch falls into the rhythmic category. I have included a scan of this sketch (see below, click for larger image). As you can see this sketch was done on binder paper. Please note that the blue lines from the paper mean nothing. I would have done the same sketch on a blank sheet of paper, this was just what I had at the time.
Before beginning this sketch I had decided that repetition would play a key role in this section. This is why I was able to illustrate my ideas by creating a rhythm and then drawing a line extending from it showing the repetition. In this diagrammatic sketch the first thing I notated was the long tones in the upper woodwinds (top left). The measured and tied whole notes after the arrows illustrates my thoughts on the rhythm and chord progression for these long tones.
Underneath the long tones I began to add layers of rhythms. The horizontal space that separates the layers is not proportional. This is really a quick version of this type of diagrammatic sketch. If I were to create this sketch in its entirety as a pre-compositional device, then I would have taken steps to indicate relative time. I have made more "complete" sketches where time and linear space is proportional. Essentially I was using this sketch as a method of organizing my thoughts. More often than not, when I do diagrammatic sketches they are done as a pre-compositional device. I will provide examples of this in a future post.
I like creating these types of sketches because they allow me to easily organize my musical thoughts without putting them into too many words. I am also able to plot out generally where events start or stop and how events line up without sketching out all of the measures. These sketches can give me the ability to see the overall shape of the piece before it is finished.
Sunday, March 28, 2010
Elusive Ideas
Sometimes I feel as if good ideas tend to evade me. This is definitely how I felt this past week. Last Sunday (3/21) and throughout the week I have tried to sketch ideas for the B section of Night Sky. I did not like about 90 percent of these ideas. Sure, some of them were good on their own, but most did not seem to fit the piece I have been working on.
I tool a step back and I thought about some of the element I wanted to include. I made a list of those elements and I started a diagrammatic sketch of the B section. A quick definition of a diagrammatic sketch is a sketch of a series of shapes, rhythms or even colors used to represent the music to be composed. These sketches can take different forms, but one important element is that they are done away from staff paper and musical instruments. I will take the time to provide examples and a better description in a future post.
This sketch has been a big help in formulating ideas for the B section. I have been able to move ahead and workout the first half of this section. Sometimes all it takes to get going again is to step back a moment and organize your thoughts.
I tool a step back and I thought about some of the element I wanted to include. I made a list of those elements and I started a diagrammatic sketch of the B section. A quick definition of a diagrammatic sketch is a sketch of a series of shapes, rhythms or even colors used to represent the music to be composed. These sketches can take different forms, but one important element is that they are done away from staff paper and musical instruments. I will take the time to provide examples and a better description in a future post.
This sketch has been a big help in formulating ideas for the B section. I have been able to move ahead and workout the first half of this section. Sometimes all it takes to get going again is to step back a moment and organize your thoughts.
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