Part 2 – SET BOUNDARIES IN ORDER TO BUILD COMPOSITION SKILLS
Many young composers begin the process with the search for new ideas. Some call it the search for inspiration. A composer I know well jokingly refers to this as “panning for gold”. If this is the only way you choose to write, then you will head into the unavoidable brick wall of writer’s block.
Try another way. Start with form, or designated structure, and stick with it. If you haven’t brought this type of discipline into your workflow, it might be difficult in the beginning stages. But stick with it, you will be much better off long term, and so will your compositions, which will be filled with wonderous inspiration!
ASK FOR HELP
So you’ve graduated, have a DAW, samples and ready to conquer the world. If Aaron Copland thought that way he never would have gone to Paris to study with Boulanger, nor the hundreds of other graduate composers worldwide that followed. None of these composers were ashamed to continue learning their craft – nor should you be.
Some Of The Merits Of Setting Boundaries
Many young composers begin the process with the search for new ideas. Some call it the search for inspiration. A composer I know well jokingly refers to this as “panning for gold”. If this is the only way you choose to write, then you will head into the unavoidable brick wall of writer’s block.
Try another way. Start with form, or designated structure, and stick with it. If you haven’t brought this type of discipline into your workflow, it might be difficult in the beginning stages. But stick with it, you will be much better off long term, and so will your compositions, which will be filled with wonderous inspiration!
Some Of The Merits Of Setting Boundaries:
- Do As Much As You Can With As Little As You Can There are so many ways one can work a small amount of musical material such that there is almost no opportunity to get stuck in the middle of a new composition. When you learn and implement these techniques, the issue for you will not be a lack of new ideas, but which of the many variants will be the best choice at each juncture in your music.
- Inspiration Is Not That Big Of A Deal Let’s face it, there are only twelve notes, and there isn’t much new under the sun. However, when applying craft to even the simplest and most benign of ideas and your composition unfolds, many benign ideas emerge with a very different character and impact on the human experience and the joy of listening.
- The Two Types Of Variations Most musicians know what is meant by writing a set of variations. Simply described, one takes a tune that has two parts to it, then composes a series of stand alone “mood pieces” that change the feel and character of the tune. This is very effective, and a great way for composers to build skills within a set of boundaries. However, there is another and far deeper way to approach a set of variations. Instead of varying the tune, one lifts the tune off of the underlying musical and harmonic structure, like taking the body off of a car to expose the chassis. Then the composer re-engineers the underlying structure. This is a much more advanced approach, and that requires a far greater sense of discipline and applied technique. Take a close look at the Bach Goldberg Variations, and you will see what I mean. You might also look at my own Variations for Orchestra that is the contemporary version of this. https://www.youtube.com/watch?v=sdjFZ-w_WbM&t=7s
- Build (or re-build) Technique From The Ground Up In the series I solution, the suggestion is to compose shorter pieces. Taking this a bit further, I recommend focusing on a limited amount of techniques. There are many examples and applications. Say you wanted to learn counterpoint. First write a two part invention (or a few of them!). Then three voice fugues, and onward to four voice fugues. Now go back and do it all again, but this time in the styles of Bartok, or Hindemith, or Britten. Writing in Baroque style of Bach or romantic pieces in the style of Chopin or Grieg is fine for study, but it will not help you one bit in the development of your own voice, or capture audience interest. Be yourself, because everyone else is taken….
- It Feels Great When You Have Built A Work That’s Beautifully Crafted Composing well is hard work, and when you have paid attention to detail and craftsmanship from which inspiration emerges, it is a wonderful feeling of satisfaction. If you have really done it, and not just slopped something together for your own self-grandizement, you will know it on a deeper level. Audiences and listeners will reward you and respond with appropriate recognition of your achievements.
Brahms’ First Symphony In His 40’s!
So let’s see, it took Brahms all that time to compose his first symphony. Or did it really? The truth be know, he threw out a bunch of “first” symphonies before the one we know as the Brahms Symphony No.1. This process takes time, and study, and lots of patience. Again, don’t be afraid to ask for help. All the great composers did, and you will not be the exception. There are reasons why the late works of great composers have special meanings and effect on listeners, but remember, late works are preceded by early works, then middle period. Lots of great music along the way, but not all of it.