ToCompose

Thnx for your reply. I will check this next time I listen. I was just thinking about it because im trying to transcribe some music which is not written down, and is played without a steady pulse. and Its really hard for me deciding what note values to use and where the beats are.

Something has been bugging me for a while now. When a composer writes a piece, and lets say there is an introducton to this piece, played in a free kind of way by the performer. How is this music then heard in the rhytm in which it is written? For example how do you possibly hear written triplets when they are played not as such because of the free interpretation? Did the composer just write the triplets to give the performer an idea of what he wants to convey? .. It is an odd thing to me and I hope someone can enlighten me.

dm key example.pdf Ok thnx, here it is. I should add, that I now see that it doesn't necessarily has to be in Bb, because there is no harmonic accompaniment during those notes. I guess I assumed it was, because the first 2 beats are Bb. Anyway, I like to hear what you think.

I only know 3 minors, natural/harmonic/melodic. I thought Ab wasn't in any of those? So if I use notes with foreign notes to the key, i'm automatically implying a different tonality? It's quite difficult for me to see the logic of these decisions. I was thinking that the Bb, was actually a Bb7/9/11? and that these extensions make up this combination of notes? I wrote down the passage for you but can't seem to find a way to upload it in my message.. any suggestion?

I have an example for you guys. In the case of the D minor key. When you play these notes in this order : E - F - Ab - Bb - C, in the context of the chord Bb. Does this "scale" imply another mode? or is it simply based on extensions of the Bb chord? Beginning on a E(11th)? up to the C(9th)? And a Ab(minor 7th?) along the way? I'm curious how you guys look at that. Thnx a lot for both of your posts. I'm going to study those examples closely.

Well, its one of the first things they tought me in theory and was now thinking about it again. So i was thinking that i maybe missed out on some basis insight in music by not really understanding the use of them. But for example. Begnning a melody on the second degree in a C major composition, doesnt sound like dorian necessarily right? Because the beginning notes are also minor, and unless you go all the way up or down , you cant possibly hear the color of dorian? I dont know, this is what confuses me a little.

Can someone please explain to me why it is important to know the greek scales like for example the dorian scale, while composing in major or minor? I never really understood the practical use of it other then giving a certain note combination from beginning to end a certain name. Looking forward to your thoughts on this.

I dont have it on paper yet, but I have something similar to what you sent me. I now end the first part on the V7 and after on the tonic. It seems to give a clearer structure to that section. Is there a moment where you repeat one of these segments later on and feel weird about it?

thnx for the link. Well not necesseraly one-on-one repeats. but repeating it later in the piece for example. Somehow it bores me? to repeat it later if nothing new is happening to it. maybe i just have to get used to that.? Interesting you mention this. I happen to end almost all of the phrases on the V7 chord hahah. I have tried a lot of ways in my structure but the thing of keeping it interesting by variation and repeats is difficult for me.

Why is it that everytime I listen to music, I love the repetition of phrases, and when I am composing myself I never feel like repeating any of my phrases .... it is so freaking annoying. Anyone with a similar experience?

Hey Guys, I was studying the "flight of the bumblebee" but it appears that the score on the internet doesn't show the development I hear for example in this recording : http://www.youtube.com/watch?v=aYAJopwEYv8 Is this version an arrangement by someone? or is it the original. If so, does anyone know where to find the score for that? Here is the score I found without that section: http://petrucci.mus.auth.gr/imglnks/usimg/9/93/IMSLP99876-PMLP03170-Flight_of_the_Bumblebee-score.pdf

But what you are saying is that you also developed the other less interesting ideas untill a certain point? How far have you taken them this week before deciding to lose it? haha and good luck! attention and concentration in composing that theme!

Some of the most famous composers have said you have to write alot every day, whether you are inspired or not. My question is, do you guys do this by writing down a lot of ideas untill you find something interesting or do you do this by developing whatever idea comes to mind, whether this idea is interesting or not? Im curious to hear your replies.

haha, yeah a little confused but its very interesting. Thanks for your help. I have another question that i would like to hear your opinion about. In the beginning of tchaikovsky's waltz of the flowers( he ends his introduction motive with the notes F# - E - E, followed by ending on A - G - G. then when he later arrives in the Tonic, D major on page 3, you have this 8th note part where he again ends on F# - E followed by the same motive ending on A - G. But all in a different context and with a different motive. I was wondering if you think this is done on purpose, as if he was referring to that introduction part. Im not sure if this is too far fetched.

Thanks for the book, Ill have a look. But if you dont insist on particular notes in your frases wont the listener lose sense of the music?