gigeorge17371

Nice answer, though as composers and musicologists we surely ignore this theory or accept it as a paradox, move on, and seek to apply our insufficient knowledge to our subject? Yes, so you would say a total-serialist work by Milton Babbitt is the same as a Piano Sonata by Beethoven? If so, and from a post-modern perspective, why? So you don't see Modernism and Romanticism as independent developments, with independent and different aesthetics, within a series of multiple developments. You see them as the two titles some one has given to 1800-1900 and 1900-1950?

I don't wish to objectify it, I wish to hear peoples extended opinions on the matter. If forums were filled with questions that required a yes or no answer that would be pretty dull. Thats cool, but again out of interest: why is Romanticism good enough for you and what are you typically trying to express?

I open this question up to you purely out of impulse and interest.

I think it is a symphony, not sure though. Just letting it brew.

...as are you.

I'd recommend Norman Del Mar's 'Anatomy of the Orchestra'. Its denser than the Adler but in turn provides much more information, particularly of less common techniques. Which Adler sometimes omits. If I had my copy with me i'd have a look in the Brass section of it now, but i've left it at uni.

Today I had a lecture on the role and meaning of improvisation in terms of composition, which proved to be very interesting. So I figured whilst I was here I would throw the question to you fine people. So in relation to composition, what is Improvisation?

Beethoven 7 Bruckner 7 Mahler 5 Mozart 25 Dvoraks 'New World' Symphony

Ah right, I see. Silly me.

I think if you're writing on tight deadlines for large ensembles you should be quite resourceful with you're thematic material. Pass the theme around through different colours, manipulate the melody, take motivic cells from it and use them independently the thematic alterations should lead to harmonic changes and you can deliberately manipulate the melody line tonally. I think it depends on what style you are writing in as well. I'm currently doing a case study on the first movement of Bruckners 7th symphony. It took him a while to write though the thematic material within it is quite resourceful - He uses inversions quite frequently. I think there is a point where he retrogrades and inverts a cell... My point is that he creates 400+ bars of music with three themes that altogether probably only equal about 26 bars in length. I think as young composers (I my self am a rascal for it) we try and create too much material for one work that doesn't really need it.

Ah right, so this gift from god thing isn't a belief you hold about yourself then?

Research, Annotation and Write-up. Research the composer and stylistic characteristics such as form, harmony and melodic characteristics from books, annotate the score in order to spot typical and atypical stylistic and composer traits within the piece, possibly influences from other composers and other things I find through the annotation that may or may not link to the research and then because I remember things better when I write them down I like to write an essay or something of the sort.

Isn't it quite hypocritical to your faith, to idolise yourself so much?

I didn't think it was possible to get a multiple question wrong... wow. I've got East West its pretty cool I don't use it to anywhere near its full ability and it requires a good spec PC/ Mac. I run it on Logic. If you are using just notation software then Kontakt would probably be the best option.

So you are writing for a string orchestra and you want to know how to create intensity within this set up? Multiple stops are a good way of thickening the texture that in turn will increase the dynamic and intensity. Care needs to be taken with these though due to playability, and tuning particularly in ensembles. I think intensity is easier to build following sections that are not so powerful. For example you could have the double basses not playing and the viola's or a violin section could rest through more gentle parts of the music. Mutes can be effective also. If you have a thin, light section you can then easily erupt into a more fuller and seemingly more intense section. Parts don't have to always be playing. It easier to create interest and intensity with larger orchestra's though limiting ourselves can make us more resourceful.