Marisa

Almost never. I find it really awkward, actually, for the most part, on any instrument. The small percentage of the time that I do get something out of it I almost invariably forget. Instead I work more slowly, just waiting to get inspired a bit at a time, looking for what would sound good after the last completed part. (I suppose in a way that has an element of improvisation in it, but not to any significant degree.)

I started writing little melodies at four or five. I'd been surrounded by music and instruments through my whole life, and so of course I wanted to give it a try myself. Didn't really consider myself a composer until I was around eleven, though. I don't know what my experience level is really. Basically I know nothing about harmony, although I have a much better idea of what I'm doing intuitively than I used to. I'm up to string quartets and at least one attempt at an orchestral piece. Getting there! * grins *

I was reminded of Beethoven in places, but only momentarily - the 'Spring' sonata a bit, maybe. Didn't recognise any of this for the most part. Er...while we're on the subject of Beethoven wind music, can someone direct me towards a recording of one 'Concerto for 8 Wind Instruments'? All I remember is playing a version of it arranged for strings, a long time ago.

Literally? Ouch. * grins *

So the site member-stalker is paranoid of being stalked? * grins *

Don't tell me it's another mind invasion here. * grins *

Excellent.

Heh. Very fond of Firebird, personally (I've played two or three movements from the 1919 with two different ensembles), but I don't like Rite of Spring at all. Maybe because the images assigned to it in the 'Fantasia' arrangement always gave me nightmares as a child.

No kidding. You really have to like a piece in order to play it that often and not become completely tired of it. Or did you play it that often because you're so fond of it? Either way, that's neat. The E major, especially the first movement, is my favourite of his violin concertos, although I like them all really.

Corelli - Concerto Grosso Op. 10 No. 6 - Allemanda. It's been that way for years, and I have no idea why. Ah well.

Used to have the same problem. I've found it's gradually disappeared as I gain more experience composing. I think what helped the most for me was learning to take longer in the first parts of the piece. Spending more time introducing the idea(s) automatically means there is more to play around with and eventually resolve. Also, speaking from the point of view of a more-or-less classicist (this may or may not apply to other genres - I don't know), sometimes starting with an established form or structure can help regulate the overall arc of the piece, too. In June I came across a really nifty piece idea in 3/4 and decided to turn it into a piano minuet; this gave me some degree of control. ('Okay, so the idea needs to be eight bars long, followed by a somewhat altered version of the idea for the next eight bars, and then a new idea for the Trio here, and then...') So yeah. Play around a bit with the idea(s) in the piece and see what new forms of it can still be added on. Above all, I'd say don't worry about it too much. Just stay open to...well, yeah, potential additions, and see how it goes. Best of luck, and welcome to YC!

Yes. In fact, it's sometimes what helps me identify the key.(My sense of pitch isn't perfect - just very good.)

Agreed. I think it could make comparing pieces very interesting - what results from visual similarities and such.