Finding Your Compositional Voice

Hey,

So any tips on finding your own compositional voice?

I know the question is somewhat dumb as it makes it seem like you can actually 'lose' it, but nevertheless, how do find the real music of yours? Not just the stuff you write because you understand that ,style or way or are used to a particular structure, phrasing and harmony?

Chris

Keep composing. One doesn't necessarily work to get a unique voice (though, many have tried). IMO, its something that just comes with experience doing.

I don't think there's any such thing as "ones true voice". In the end it all just is an expression of what you know, understand, are used to, and are interested in. It is not so much something that can be "discovered", but rather something that develops itself on its own, simply by writing music and exploring areas that interest you most, respectively give you most questions.

I also don't think it's something you really need to strive for. "Having a clear, unique voice" is sometimes overrated. There are composers who wrote a great variety of extremely different music, never have a fixed style, which I find amongst the most interesting ones. If some "voice" manifests itself, fine, if it doesn't, fine to me too. In either case you can write exciting, individual music.

In short: Just delve into what interests you, explore it, study it. Be open to all kinds of music, and listen to it. And compose a lot. Something individual probably will grow out of it with time.

And how would you realise you have this voice?

ditto gardener. as usual.

Focus on things that make your music yours.

Take, for example, me. I think that the piano miniatures I did really helped me understand what I think is important in music -- gross dissonance, small fragments of melodic material, and heavy musician interpretation.

So from there, explore each topic you find fully, even if you might find conflicting topics, ones that you find later you don't think are important, etc. Like, say you're really into melody -- write a number of purely melodic pieces, exploring your melodic concepts and things like that. For me, right now I'm focusing on musician interpretation -- I'm writing a lot of pieces with free sections, things like that.

Basically, it takes a lot of self-reflection, a lot of personal study, and a good ear for influence -- listening to people who do similar things as you to see what you do and don't like.

The way I've started realizing my voice was just from improvising on my favorite instrument (marimba) and writing out and listening and analyzing what I play, a style though, really isn't something you can absolutely set though because all things you write are different but usually you can find what sorts of voicings you like and use most often and many other things like that.

Be very, VERY careful, especially at your younger age (forgive me for making the assumption, but you're on a board called young composers and asking other students how to find your voice), not to "lock yourself in" to any one style or idiom simply because "you like it" or "it's your voice".

Chances are, you have not studied and experimented enough to fully develop your style and your compositional language. until then, try not to write anything off as "not you" until you have ample and multiple opportunities to study, evaluate, and assimilate what you've learned.

Be very, VERY careful, especially at your younger age (forgive me for making the assumption, but you're on a board called young composers and asking other students how to find your voice), not to "lock yourself in" to any one style or idiom simply because "you like it" or "it's your voice".

Chances are, you have not studied and experimented enough to fully develop your style and your compositional language. until then, try not to write anything off as "not you" until you have ample and multiple opportunities to study, evaluate, and assimilate what you've learned.

Well I guess that is the thing... I've always found writing in different styles no problem but I don't know if you could listen to two of my compositions and go "That is Chris _____"

I like all music so i guess I'll just keep writing it.

Thanks,

Chris

-Listen to music that speaks to you

-Develop personal taste in music

-Follow your ear

A composer's "style," in the way we use the word, is descriptive, not prescriptive. Define yourself through your music, not through your "style"

Well I guess that is the thing... I've always found writing in different styles no problem but I don't know if you could listen to two of my compositions and go "That is Chris _____"

I like all music so i guess I'll just keep writing it.

Thanks,

Chris

The problem is, as long as you are "writing in styles" you are not on your way to developing any sort of musical identity.

Once you are comfortable with your creative craft - harmony, counterpoint, form/structure - you will find that certain elements seem to pop up more often than not in your pieces. Gradually, you will find yourself concentrating on developing certain types of ideas. This will be the beginning of you writing as "you", instead of "writing in styles".

There is nothing really concrete and proactive that you can do, other than: learn your craft.

Many composers do not really "come into their own" until quite late in life. And some go through multiple "musical identities".

-Listen to music that speaks to you

-Develop personal taste in music

-Follow your ear

And occasionally, listen also to music that doesn't speak to you. You'll absolutely hate it 90% of the time, but the other 10% will provide you with gems that will help you develop your unique style.

And occasionally, listen also to music that doesn't speak to you. You'll absolutely hate it 90% of the time, but the other 10% will provide you with gems that will help you develop your unique style.

I second this suggestion.

Absolutely. Listen to music that does NOT speak to you.

If all you listen to are your favourite composers, then you are not expanding your musical horizons.

If all you listen to are your favourite composers, then all you are doing is reinforcing those particular stylistic mannerisms in your own music.

As a matter of fact, at a certain point, you may actually STOP listening to music by others entirely for extended periods of time. Sometimes no music, or only your own music, is a means of "meditating" on what you are doing, and immersing yourself in it enough to find those things you would change, that aren't satisfying you at this point.

I second this suggestion.

Absolutely. Listen to music that does NOT speak to you.

If all you listen to are your favourite composers, then you are not expanding your musical horizons.

If all you listen to are your favourite composers, then all you are doing is reinforcing those particular stylistic mannerisms in your own music.

As a matter of fact, at a certain point, you may actually STOP listening to music by others entirely for extended periods of time. Sometimes no music, or only your own music, is a means of "meditating" on what you are doing, and immersing yourself in it enough to find those things you would change, that aren't satisfying you at this point.

I'd be interested in hearing more experienced composers describe how they came on to their own voice. Was it something sought for? Or did it just happen? What steps led to it? And would they say they have an 'original' voice? *hint, hint*

Interesting responses.

I agree with "Expanding" one's horizons. It helps identify what you like and don't liek. At the same time, it comes a point where your voice needs to be solidified. Some hardcore academics scream "do this,do that" but no one ever hears their works (in general, not all.) Film composers would beg the differ, though they are expected to write in any style at any given moment (though most would have a team of writers.) And sorry, not too many atonal film scores are wanted.

I remember in college folks telling me different things. I can't say I didn't agree with them but it wasn't applicable. I tell stories in my music (programatic) so I am considered melodious.

My colleagues would say "do something atonal." What's the purpose? That's the story I wanted to tell. Your point? This argument can go on forever.

The MAIN focus is motif (whatever it may be), strong development, and

appropriate orchestration. I could care less what style or format; from Bach to Beethoven to Wagner to Schoenberg to Shoshtakovich to Bolcom, you see those points.

(humph) I'm venting a lil'....hope this helps.

I also find this interview with Wolfgang Rihm interesting when it come to style (2nd page)

Wow, how interesting this wolfgang rihm man is..I'd never heard him or of him.. He's something special. Thank you jujimufu.