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I am planning on writing some pieces for transposing instruments and had a question. I wondered whether composers here prefer to write parts for transposing instruments at the correct written pitch and then transpose them later, or just write them already transposed? And why do you prefer your chosen process over an other? Thanks :D
Hey all, Out of curiosity, how do you compose? What is your process? Do you sit down at the keyboard, or the computer, at the same time every day with a cup of coffee and work diligently until something good comes out of it? Or does inspiration strike when you least expect it, and then you rush for a piece of paper before you forget that brilliant idea? Do you start with chord progressions? Work phrase by phrase, one part at a time? Write the entire melody, and then go back and fill in the other parts? How do you work? (I work a bit every day, phrase by phrase, and part by part. Then go back and read through each part while playing the whole thing, and be sure that each part makes intuitive sense from a sight reading perspective, and adjust chords if it doesn't, add dynamics, accents, etc, let it sit for a few days to clear my head, and then come back with fresh ears for a last check. At that point I'm heartily sick of the piece, so I keep everyone's comments in mind for the NEXT piece, but don't usually do much post-feedback editing.)
Watching the SBS1 TV doco1 on Franco Zeffirelli yesterday made me think about the comparisons and contrasts between the life of a writer, a composer, and that of a producer and director. Of course, I became especially interested in how his creative activity was similar or different from mine. Each writer, each producer and director, each music composer has a different story, a different way to look at their creativity and the creative process. Zeffirelli will soon be 90 and I will soon be 70; he was an entre deux guerres baby and I was a war baby; he has achieved fame and wealth; I am an unknown, financially comfortable but far from wealthy. My wife would call us poor. -Ron Price with thanks to 1”Franco Zeffirelli,” SBS1, 2:30-3:30 p.m., 5 February 2011. Comparisons are odious,1 but inevitable in life, and more inevitable for some of us as we journey life’s path….Your mother died when you were 6 & mine when I was 33; you went for the theatre in your 20s and I went for university & a teaching career……..You went for Catholicism and I went for the Baha’i Faith!* Homosexuality seemed to be in your bones while the heat of sex turned me into heterosexuality—and both of us kept our sexual-style all our lives…By the 1990s and 2000s you were getting knighted and receiving so many honours and I was retiring from decades of work as a teacher…..... I wish you well, Franco, in your remaining years on the mortal coil that remain with Jesus in the very depths of your spirit as Baha’u’llah is in mine: two men, one spirit.2 1 Comparisons are odious, Proverbs 141; comparisons are odorous, Much Ado About Nothing, act 3, sc. 5; Sir John Fortescue (c. 1394-1476), comparisons are odious. De Laudibus Leg. Angliæ. Chap. xix. 2 Franco Zeffirelli, Wikipedia, 6 February 2011 Ron Price 6 February 2011 Updated for: Young Composers Music Forum on: 19/4/'12