How do you usually start making your own composition?

(I'll be the first to answer)

I focuses more on CHORAL. I usually start (but not always) my piece by creating a melody.

Then next is making the bass, choosing for cadences, then filling the inner parts.

I switch around a bit. Mostly I start off writing the melody, but for slower, more sombre pieces, I write the bass first. I fill in harmonies last, obviously, and then anything else after that. But I work it in sections, like a strand of melody, then it's bass, then it's harmony, etc. and then move on to the next section.

1/ I look for an unusual name, I find a theme (which won't necessarily be a main theme) then imagine the overall structure in my head, the colorfull harmony, where will be tension and tutti if orchestra/choral... And I write bribes of music then and make them as coherent as I saw them.

2/ I "work" with a femal-painter, so - if normally I please her to make a painting inspired from my music, I can choose one of here painting. Then looking at colors, the construction of the painting, and composing music from it !

That's a great pleasure in the two cases =D

I begin with a broad idea, either musical or non-musical. As an example, I'll use my current project, a piano concerto.

1) The idea: The Fibonacci Sequence

2) The execution: Find the first 21 numbers of the Fibonacci sequence. Divide by 12 to derive interval-class/pitch-class notation from them. Use those IC and PC numbers to create a row of pitches. Split the row of pitches into small cells of either three or four pitches. Use these cells to develop melodies and harmonies.

3) The structure: Create sections that are x measures long, consisting of y 8th-note beats, where x and y are both numbers in the Fibonacci sequence. Group sections into z Parts - where parts contain c sections, where c and z are numbers in the Fibonacci sequence. Add a through-composed cadenza to the end of each Part.

The resulting structure is:

Intro

I-Section 1 - 5 bars, 34 beats

I-Section 2 - 8 bars, 55 beats

Cadenza

Part A

A-Section 1 - 13 bars, 89 beats

A-Section 2 - 8 bars, 55 beats

A-Section 3 - 5 bars, 34 beats

Cadenza

Part B

B-Section 1 - 5 bars, 34 beats

B-Section 2 - 8 bars, 55 beats

B-Section 3 - 13 bars, 89 beats

B-Section 4 - 8 bars, 55 beats

B-Section 5 - 5 bars, 34 beats

Cadenza

Part C

C-Section 1 - 8 bars, 55 beats

C-Section 2 - 13 bars, 89 beats

C-Section 3 - 21 bars, 144 beats

C-Section 4 - 13 bars, 89 beats

C-Section 5 - 8 bars, 55 beats

C-Section 6 - 5 bars, 34 beats

C-Section 7 - 8 bars, 55 beats

C-Section 8 - 13 bars, 89 beats

Cadenza

CLIMAX OF THE PIECE -

Part D

D-Section 1 - 5 bars, 55 beats

D-Section 2 - 8 bars, 34 beats

D-Section 3 - 13 bars, 55 beats

D-Section 4 - 8 bars, 89 beats

D-Section 5 - 5 bars, 55 beats

Cadenza

Part E

E-Section 1 - 8 bars, 55 beats

E-Section 2 - 13 bars, 89 beats

E-Section 3 - 8 bars, 55 beats

Cadenza

Part F

F-Section 1 - 5 bars, 34 beats

F-Section 2 - 8 bars, 55 beats

Coda

Coda-Section 1 - 5 bars, 34 beats

Cadenza

Coda-Section 2 - 5 bars, 40 beats

END CONCERTO

The 8th beat is the primary system of measurement, and its splitting into bars is just for convenience.

Italic text represents the Exposition of the piece. Bold text is the development to the climax.

Plain text is the return of the material of the exposition, and bold italic text is the coda/finale of the piece. This gives it an almost ternary form.

* I know now I'm bad in mathematics and why Xenakis is so little played * :D

I get bored in class, doodle something, and then work from there.

i <3 quad-ruled paper

I usually start by searching at the forums:

http://www.youngcomposers.com/forum/so-how-do-you-start-piece-16501.html

http://www.youngcomposers.com/forum/where-start-15230.html

I start by creating the chordal progressions and structure. Then I make a melody for the chords. The accompanying pattern depends on situation. Sometimes I begin with a choral that I edit into a natural sounding piece of music.

i <3 quad-ruled paper

Me too! I almost failed math in high school because I figured out a method of notation for quad-ruled paper, and I'd just compose through the class.

And in response to the previous post -

Though my structural diagrams may look complicated, the material in the structural diagrams is actually quite accessible. I don't go so far as to map numerical graphs onto my sheet music, or anything.

i sing in the shower. i write it down. i put harmony with it. i make sure it sounds good.

I usually start by searching at the forums:

So how do YOU start a piece?

Where to Start?

Best answer yet.

To the OP, please STOP USING CAPS, THEY'RE REALLY ANNOYING. Mmkay? Thanks! :thumbsup:

i sing in the shower. i write it down. i put harmony with it. i make sure it sounds good.

This is beginning to get a little bit creepy.....

I do the EXACT SAME THING WITH ALL OF MY MAJOR WORKS.....

ahhh... we are twins!

This is beginning to get a little bit creepy.....

I do the EXACT SAME THING WITH ALL OF MY MAJOR WORKS.....

ahhh... we are twins!

OMG!:w00t:

:toothygrin:

wow, lot of ideas here..

thanks for all your reply.

maybe next time, I will innovate some technique so I can effectively write.

chris>It's a pleasure to hear what you are making .:thumbsup:

bolanos>interesting, that's process sounds really good for my choral piece.:)

juji>sorry because I don't stay long here at the forum.:(

p.s. I forgot, lastly I write the lyrics, then make revisions on durations. thanks guys.

I start by not using caps.

:dry:

I start by not using caps.

:dry:

I didn't know what's the big deal with capital letters. Does it break any sensitive rule in music? Or maybe, you don't just liked it. :(

Thanks for the effort of writing a reply to this post. ;)

It really depends on the mood and kind of music I'm writing. Another key factor: what media I'm writing for. If it is a video game, then I'm referencing any concept art, screens or in-game materials presented to me. I'm also keep track of other music written for the game. If it is a film project, then I'm referencing the scene(s) I'm supporting for pacing and important cues. If I'm writing for my own benefit and pleasure then it is a bit more relaxed.

I can start a piece with the melody, or start with harmonic ideas. Sometimes just a cool rhythmic idea will get the ball rolling. I try not to ascribe to a set pattern of composition because that would just be limiting. Instead I give myself as many options as I can to become inspired and create.

I hope that helps!

Nathan

I like to find places where I can't be disturbed (haha, the shower is one of them) and I seem to find ideas fairly quickly. And it really varies from song to song. Sometimes it's just a wierd idea harmonically, sometimes I come up with a melody, sometimes I try to mimic something without actually writing the same thing (arranging in part, but not quite), sometimes I'm just trying to explore a different style, and sometimes just doodling on an instrument (piano is easiest if you want to come up with chords) can help you come up with something.

I have another idea I have yet to try, you could just place random notes in whatever computer program you use, then work with any musical ideas you can pick out from it. Just an idea.

Thanks for all replies..

Nathan, seems that you are really a professional composer. That's a very good idea, you always have to know what you are doing.

Master, mimicking is also my hobby. But unlike you, I can do a piece even with a lot of noise-maybe I can call it a trash. lol

I'm always learning from all of you, thanks. ;)

I start with the concept of the piece. Will it be a common-practice piece? Will it be a polytonal piece with quartal harmony predominating? That's my first step.

The second is orchestration, duration and difficulty. It is based on the aim of the piece. If it is commissioned music with a tight budget, I have to keep my endeavors within sensible limits. If it's something I'll do for fun in my free time, why not use an extended orchestra with theremin, bike-pump, solo kazoo and 4 conductors? These are all variables one should take into consideration.

The third is finding the motives/melodies which will be my raw material. I have tons of notes out of which to choose material, but usually I don't have trouble coming up with new material.

The fourth is the technical stuff. Create or choose a form for my music. Do the voice-leading. Write some couterpoint. Putting it all together.

Hope this helps. :)

The second is orchestration, duration and difficulty.

Manos, all your replies were greatly appreciated. ;)

Haha, sorry but I wonder how music is judge according to difficulty. Can anyone give me an idea. Thanks.

I'm going to have the stupidest and most unhelpfull answer.

Most of the time, melodies just spawn in my head. If I'm having a good day, FULLY ORCHESTRATED AND DEVELOPED WORKS spawn into my head. It just hapens :pinch:

The bad part is I often forget my best melodies since i'm not adept at writing musical notation quickly, and I don't have a keyboard to have a tactile way of remembering it.

Who knows since most of the works I like best never make it to paper, they could be horrible, but I highly doubt it since the works that I consider to be OK are pretty good to the standards of others I ask to take a listen.

Sorry my method is one that really can't easily be duplicated.

You could try this though...

Sometimes I'll start singing one song and I'll end up creating my own as a spontaneous invention. So try singing somthing you like and try improvising.

That's about as much useful advice I can give. Again, Sorry.

I think that's not a stupid thing. ;)

Even I got some extraordinary experiences. lol

I always dream of a good melody but before I totally woke up, I have forgot all of these and I find it hard to remember it.

Yeah, beautiful pieces makes me eager to write a good composition. Thanks Patkk.

Improvising helps. Listening to a work finding something in it I like and then playing around with it. Theme and variations and counterpoint are great warm exercises.

As for a great melody coming to my head - not often. If it seems so this turns out to be less a melody than motifs or a sounds with much potential.

The above is the germinal "inspiration" phase. What others are speaking about - determining the purpose figuring out what to do sometimes comes first and sometimes comes second. As you become more proficient the more planned, conscious method becomes your most potent tool. The only drawback to it is that you risk being overcritical of the more "out of the blue" approach because you recognize this brings more motivic material to work with rather than complete material. So a fine balance between the two is best.