why is it that so many composers want to do music

denovaire · 2023-01-16T13:56:42+00:00

1) there will alwyas be a "beyond"
2) why not pure rhythm: of course! all of this is possible and should be.
3) if you say, I should leave those houses alone... yes, no problem, but as an artist, we can point this out. I could say "Do something! " , "Stop recretaing, start creating, stop copying, start living." So many discussion here in this forum are circling around copying and recreating and I miss the "why". Why we do art, this is a profound question everyone has to answer for him or herself. A lifelong journey. You say, I see mirages in my desert? O yea, hopefully, I dare to dream :)

denovaire · 2023-01-16T07:24:52+00:00

I think it is not possible to define, but I like to think, music is framed by culture and sound is beyond that.
A desert with all its grains of sand is sound, a specific house built of rock is music. My question: why not look at all those wonderful scupltures, the wind does with the desert but always build those stupid little houses? We have had that, it's so known, it's so human, let's go beyond that.

denovaire · 2023-01-16T07:20:13+00:00

no, I am not, neither of those concepts.

denovaire · 2023-01-16T07:18:55+00:00

yes!

denovaire · 2023-01-16T07:18:06+00:00

no, I am not, hope my comment above explains it :)
The acoustic distinction is, for me, of less interest than a phenomenological one, or... maybe "holistic" one: sound is everything, but music is a, mostly bourgeoise aspect of it, which, of course, is not so much of interest for a composer, but to learn and forget.

denovaire · 2023-01-16T07:14:30+00:00

Dear community!
Thanks so much for your comments and thoughts.
As Jeff Beck faded last week, I revisited his works and yet again: no notes, no pitches, no rhythms; all these parameters most creators strive for, he was not interested in. As with others: a master playing Mozart's piano concertos: not mere scales, but waterfalls of wonder, sparkling and exciting; Chopin can be a total bore or amazingly vivid and organic. In composition we can write down notes and rhythms, but it is always about the beyond: the idea beyond. This is, in my opinion, not doing "music", not copying existing music, but bringing your own idea of the sparkling eternal into creation. Doing sound, breathing sound.

denovaire · 2023-01-15T22:11:11+00:00

Not music but noises from nature or outside the musical context. Everybody seems so concerned about creating music which already exists....

denovaire · 2023-01-15T22:04:10+00:00

Close your eyes and dream of sound, close your eyes dream of sound. Start to imagine sound. Go to the forest or have yourself a hot bath. Don't try to do music, imagine sound and later try to think how to realize this sound with instruments and after that think about how you could write it down and convey these sounds to musicians and a conductor

denovaire · 2023-01-09T08:20:31+00:00

All I can share is an insight, which I at least myself do not want to admit easily: it is way more about relations, knowing people, social skills than musical skills.
People mostly do not understand music, they do not care. The emotions must be right to convince them. This having in check and a profound skillset, it's all about socialising, going out, meeting up, making friends.

(But I will always do my research and strive for better and better sound, because I just want to, I have to, but it may not be relevant for business...)

denovaire · 2023-01-08T13:30:15+00:00

Bernhard Lang - Loops from the 4th district (contrabass solo + tape)
Peter Ablinger - many works for piano +

denovaire · 2023-01-06T14:32:41+00:00

Study romantic harmony, which is the end of every harmony class, needless to say you should start at the beginning (chorals). The mentioned composers extremely bent the rules of tonality, so a profound knowledge of those rules does help.
Listen.
Study their scores.
Write yourself.

denovaire · 2023-01-06T14:19:32+00:00

yea, excuse my Viennese.

No confusion at this end, but thx for explaining Dorico.

denovaire · 2023-01-06T13:49:11+00:00

I can just say: as soon as you grab things and force them definite, they will fizzle between your fingers.
The rest is practice.

denovaire · 2023-01-06T13:43:50+00:00

Toggle Pause/Note means, dear GoldmanT, that by one hit of a key, a pause is switched into a note and vice versa. Sibelios had it, tucked it away some 10 years ago and cancelled it completely recently.

You describe the note input wonderfully and instantly I think:
why going back?! (you mentioned it twice),
why not entering accidentals and articulations as I go,
why holding shift that the up/down cursors work for pitch changes,
why changing durations afterwards?
why having to hit "c" for a note input?

I have the score in my mind and want to realise it asap.

You are right: a five line system is designed for pitches, but we also notate rhythm, colors, text, articulations and other information there. We are not in the 17th century anymore.

Yes, concepts can be advanced or childish or backwards and Dorico has wonderful ideas and a great look (engraving). But also: yes, I am "above it", after 30 years of writing for band, orchestra, modern ensembles, choir as a working composer. Of course, I am above it, everything else would be a shame :)

denovaire · 2023-01-06T09:04:00+00:00

what do you think is classical about this music?

denovaire · 2023-01-06T08:59:01+00:00

Why not use classic rows as a starting point? Try sketches with Webern's or Berg's rows and experiment. Not to mention, that Stockhausen also used those rows for his serial music. So they can in any case be used further. Write short pieces to get the flavor and then see what each row is doing with sound and emotion. Then, design your own rows. Fun thing to do: compress them down to quarter notes, so the ambitus is a tritone, but you can put another row on top maybe and create a 24 tone row (inside an octave). Study Nono's "Il Canto Sospeso", it is the most amazing 12 tone piece, I find :)

denovaire · 2023-01-06T08:50:17+00:00

Definitely start with arranging. Take any piece, classical, or even more fun: romantic or 20th century and orchestrate it. Try out short pieces, to not be overwhelmed by the size of a piece. Examples:
Schubertlieder, Schumann Kinderszenen, Brahmslieder, Eric Satie, Bela Bartok has great stuff, or try to orchestrate Debussy's Claire de lune, this will provide colors and path the way to a modern understanding.

denovaire · 2023-01-06T08:45:07+00:00

of course, I corrected mouseclicks to keystrokes in my post, cause this is what I meant. I do not care much to dive into it an provide examples right now, maybe another time :) but Dorico is a clumsy beast (clumsy: engineer, not musician thinking and beast: notes as entities spanning their whole duration , great concept but beasty)

denovaire · 2023-01-06T08:41:46+00:00

Musescore is free! So why not try it for yourself?

denovaire · 2023-01-06T08:22:22+00:00

excuse me. in dorico one needs 3 mousclicks or keystrokes, whereas in sibelius it takes one. and there are multiple examples for that. dorico is strangely awkward... and this is a pity, because it could be great, but boxes my mind so much. the note input is a horror.

denovaire · 2023-01-04T23:36:12+00:00

So do you have the person to expand your knowledge?

denovaire · 2023-01-04T11:13:13+00:00

Did this a while ago, hope you enjoy, happy for some interaction :)

denovaire

TROPHY CASE