| CHOOSING A TEXT |
|---|
| CHOOSING A MUSICAL VOCABULARY |
| COMBINING TEXT AND PITCH |
| MAKING AN ACCOMPANIMENT |
| ADDING OTHER PARTS |
| FINISHING TOUCHES |
| MAKING THE FINAL MANUSCRIPT |
| GETTING IT PERFORMED |
| . |
| FINAL THOUGHTS |
It takes a lot longer to write a piece than it takes to perform. Consider this the entire time you are composing. Good proportion in a piece of music is a difficult thing to achieve.
Blank pages are intimidating to face and difficult to fill. It is easier to edit existing material, so put something down as soon as possible and use the editing process to improve it.
Only a fraction of the first draft should appear in the final draft. Although earlier work serves as a springboard to later work, it doesn't always merit inclusion in the final product.
Serendipity is one of the best tools a composer has. Although a composer should always have plans, let the unexpected happen. Fight the impulse to "correct" mistakes.
Always have everything you compose performed somehow, even if it is just a reading. You will learn more from this than any comments from your composition teacher. This is the most vital teaching method any composer has. MIDI is not a viable substitute for this.
Composers should not be within 10 miles of the first (and possibly the second) reading of a new piece; it will never sound like you expect and it will be frustrating for both you and the performers. It is acceptable to record the session however.
Even though you're 10 miles away, make your presence known by having complete instructions in your music about how you want it to sound. Always include exact metronome indications, articulations, complete dynamics, and any written instructions which will aid the performance.
The degree of loudness in a piece of music is a function of many things beyond written dynamics, namely range, tessitura, type of instrument, nature of articulations, and density. One should generally be able to perceive dynamics even if the symbols for "piano" and "forte" are not included in the music.
When you make a decision about how the music should sound, be committed to it and indicate it clearly (see #7). If you want it fast, don't write "moderato"; if you want it loud, don't write "mf"; if you want a high note, use lots of leger lines.
There is no right or wrong when writing music. It is always about things that you do that might work better or worse than other things. Always question what you are writing... and why you are doing it. When in doubt, use the "save as" command and try something else.
Music... good music... is always a balance between variety and unity. Too much variety creates chaos, and too much unity creates monotony. Find the right balance.
If you are trying to achieve a certain effect, contrast will make it work even better. If you want to write fast music, use an occasional long note; if you want to write loud music, use an occasional soft note; if you want to write high music, use an occasional low note.
Some rhythmic ideas simply do not work at different tempos. Microrhythms and macrorhythms are crucial in constructing a piece of music. Microrhythms (subtle and complex rhythmic relationships) work best at slower tempos, so we can perceive the intricate structures. Macrorhythms (large time events that occur over many measures) can only be perceived at faster tempos.
Keeping your audience's attention is crucial. You owe them a story, a musical journey, and must provide them with aural stimuli. Learn to tell that story or take them on that journey before they lose interest.
While it is important to be honest with yourself while you compose, it is equally important that you consider who your audience will be. I wouldn't generally suggest writing dense, Penderecki-like sound masses in an anthem for Christmas day at your aged grandmother's church.
Copyright © 2008-2009 by Phillip Magnuson.
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