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First off, thank everyone for there input...I'll define my personal interpretation of the terms, keep in mind in reality they all lend to eachother...again, what I find to be the most challenging is having these elements under my complete control in a more ambiguous chromatic language
Stability - Mostly in terms of mood, making sure that mood change does not spike suddenly and constantly, as well as the exact opposite
Cohesiveness - More melodic and motivic, the happy medium between monotony and uncontrolled variety, making sure every phrase, melody, section develops into the necxt comfortably
Form - Not traditional form as SSC misinterpreted (sorry I was not clear), more or less how a book will develop in chapters, simple yet clear change/sections that will contribute to the the piece's overall arch (music is not one rambed diatribe)
just to bank off other things you had to say...at this point my problem isn't so much that 'free chromaticm/atonality' (opposed to 12 tone) is holding me back, rather i'm working on familiarizing myself with a new tonal language...of course intervals are an important factor, and as Gardener mentioned, I am aware of pitch class sets (they're all over Schoenberg's op. 11)...actually what I'm working with are song forms as you said (in fact I'm studying the Hanging Gardens score and some of Pierrot, and analyzed Berg's 7 Early Songs, some of Altenberg Lieder, and critical listening of his op. 2 Four Lieder)
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