the connection between performance of the composer

hi

probably when you started thinking about the concept of composing, you heard many cool orchestrations and melodies in your head which made you go in that direction.

and you came down to your pencil or DAW, or another notation program, and some of the stuff you heard in your head didn't come out quite as you've planned.

how did it go for you guys? do you think your abilities in composition are limited to your performance skills in terms of rhythm and layering, harmony, freedom of melody etc?

or your work is entirely pure in its compositional nature, if one have that awareness..

does anyone here thinks he can actually write what he hears in his mind(besides James H.)?

I don't hear much in my head, instead I always know what the next sound is like so to speak. I compose more like a painter paints in that I'll tweak/write as I go along based on what I already wrote (which is why I don't do serial or whatever systems, since I don't like limiting my options arbitrarily.)

As for performance, meh, I know usually how the stuff sounds without having to hear most of it and if I do have to hear something just a scrafty midi will do for what I need (or a little time on an instrument, maybe.)

But again, I don't start out with some grandiose idea or w/e and then try to put it into practice. Often I start with very vague or abstract things, not even music related (haha.)

I base most of my compositions off improvisation to some degree, at least to get it started. I mess around until I stumble on a theme I like and build from there. I usually hear some version of it in my head, often times before I even begin experimenting, but I can't usually get it to match exactly. I just adjust and edit until it is as close as I can get it. Sometimes it ends up coming out better than what I originally heard.

The difference between whats in my head and what I write down, though present, is NOTHING compared to the difference between what I write down and what gets performed. Something can sound great on the computer, or even on your piano, but when you get it in front of an orchestra, choir or other group everything seems to change. That's one thing I had to learn early on in my music career and I think its very important for everyone else to learn as well, if you haven't already. When I first started writing I wrote according to what I heard at the time and how it sounded on the piano/computer. Now I automatically adjust for how it will sound performed (sometimes you just need one performance to give you this perspective). Some things just don't sound very good on a computer, but sound great in live performance, and vice versa.

That is one of the things that technology has done to us. The ability to hear music in our heads has grown very week with the invention of instant playback. And at times and can feel limiting when, writing for live performers, when you have to edit your music to fit practical instrument limitations. However, this shouldn't limit your musical visions. Through understanding instrument limitations and knowing how to write good orchestrations you will find that you can still write almost anything you want (except for those really really impossible things like 64th notes at quarter note = 270 and what not)

I personally have never feel that the out come a live performance doesnt match what I had in mind, nor have I felt limited by the abilities of live performers (unless I am writing for a particular group of performers like in a commission). I did feel this in the beginning because like most young composers, I too was spoiled by perfect playback. But after years of hearing live performances I have trained my mental ears to hear my music as performed by live performers. For me, it was a crucial skill because majority of my music is intended for live performers. Understanding the difference between what I would like a piece to sound and how I would really sound has helped me make informed decisions about my music so I dont limit myself musically.

john williams was a jazz pianist before he came down to writing top notch scores..

john williams was a jazz pianist before he came down to writing top notch scores..

And almost all of his stuff sounds the same...makes sense ;)

(P.S. I do respect John Williams works and there are actually quite a few composers and famous, professional orchestrators that got their start in jazz...or at least got good through jazz)

(P.S.S .....where did that comment come from anyway? :huh:

john williams was a jazz pianist before he came down to writing top notch scores..

Good to know?

so you don't believe his experience in jazz had any connection to his compositional and orchestrating skills?

that is what this thread's about.

And almost all of his stuff sounds the same...makes sense

time tunnel sounds like e.t.?

It was a joke...but still partially true. I went through my "John Williams is the man" phase and then started actually analyzing his work and found that it all is remarkably similar...good, but with little variation (like I said, "mostly" allowing for some works that are different)

I absolutely think jazz had a positive effect on his composing skills. At the same time, however, I think that any experience in any field of music, performance or otherwise, will have good affect on the composer.