How To Write Music In Major That Doesn't Sound Generic...

Hello, there!

I'm a pianist of about 2 years, and have been composing music for solo piano and small ensemble for just as long. 

I'm very proficient at writing in minor, but have a really difficult time writing anything in major that doesn't sound like it's from the Baroque or early Classical period. I listen to all the recognized composers: Chopin (who I recognize wrote mostly in minor), Beethoven, Rachmaninoff, Tchaikovsky, Mahler, and even some Shostakovich here and there, but I still can't pick out what it is that they're doing in any particular piece in major that makes it now sound generic. 

I really like the way Beethoven does his pieces in major, so if anyone has advice that goes in that direction, that would be much appreciated. I tried to keep the question vague so as to keep the array of potential answers very broad. 

Thanks!

- Thomas

Impressionist write in a system which does not fit perfectly in a major-minor world, but it's a very good reference about ways of writing tona music that doesn't sound thaaaat tonal. Check for Maurice Ravel, Claude Debussy, Arnold Bax, Manuel de Falla, Ottorino Respighi and you'll have good references, I belive.

don't use perfect chords, add 7ths to all your degrees, adjust melody to work for them (I'd write chords first)

What specifically about your music sounds generic to you, and what sound are you hoping to go for?

What specifically about your music sounds generic to you, and what sound are you hoping to go for?

It's the late baroque/classical sound that I end up writing, and I'm looking for anything that, quite frankly, isn't that. I really like how unique (but similar in style) Beethoven's sonatas are. My personal favorites (in major keys, that is) are 16, 24, 28 and 29, if that helps give some kind of direction. 

I really like structure: having a motif, and playing around with it, but my problem lies mainly in that fact that the melodies I end up writing sound very 'generic' (see above definition). What can I do to give them a more late classical/romantic feel without turning into Debussy (I mean no disrespect to the guy and obviously people loved what he wrote, but it seems too arbitrary to me)? 

I want to have something 'Grand' and 'Energetic', or 'Cheerful' (Scherzo), or 'Bold', or generally not 'Sad/Depressing/Angry/Dramatic/Solemn/Minor'. Are there books I need to read? Is there some piece of information I just missed out on that everybody else got? 

Thanks!

When I find myself dried up on ideas, I like to analyze my favorite composers, or the ones inspiring me at the time. Are there any composers (you've mentioned Beethoven) that create a sound you're interested in incorporating into your style? Transcribe some of their work, or get your hands on a score of theirs. An analysis of the style your looking to get will definitely give you insight into what your music feels it's lacking.

Also, it's possible the sound you're envisioning isn't entirely major in its sonority. There are plenty of ways to color chords and melodies without going fully whole tonal.

When I find myself dried up on ideas, I like to analyze my favorite composers, or the ones inspiring me at the time. Are there any composers (you've mentioned Beethoven) that create a sound you're interested in incorporating into your style? Transcribe some of their work, or get your hands on a score of theirs. An analysis of the style your looking to get will definitely give you insight into what your music feels it's lacking.

 

Also, it's possible the sound you're envisioning isn't entirely major in its sonority. There are plenty of ways to color chords and melodies without going fully whole tonal.

Can you expand on that last point a little bit? Perhaps a few examples for me to look at may be beneficial. Thanks!

It's the late baroque/classical sound that I end up writing, and I'm looking for anything that, quite frankly, isn't that. I really like how unique (but similar in style) Beethoven's sonatas are. My personal favorites (in major keys, that is) are 16, 24, 28 and 29, if that helps give some kind of direction. 

 

I really like structure: having a motif, and playing around with it, but my problem lies mainly in that fact that the melodies I end up writing sound very 'generic' (see above definition). What can I do to give them a more late classical/romantic feel without turning into Debussy (I mean no disrespect to the guy and obviously people loved what he wrote, but it seems too arbitrary to me)? 

 

I want to have something 'Grand' and 'Energetic', or 'Cheerful' (Scherzo), or 'Bold', or generally not 'Sad/Depressing/Angry/Dramatic/Solemn/Minor'. Are there books I need to read? Is there some piece of information I just missed out on that everybody else got? 

 

Thanks!

I think I understand now

I have been listening to those sonatas you suggested and what I hear is a lot of what was going on just as we begin to turn from classicalism to romanticism.

In classical period, music was restrained and very formalized. It wasn't very chromatic and  its dynamic contrast was kept at a minim. That sentiment changes in the romantic periods as we see less formalizations, more contrast, and more emotion in music. Virtuosity also increased in the early romantic period as composer wanted to dazzle their emerging new audience. You can here this in the Beethoven works you referenced. Because Beethoven was a transitional figure from classical to romantic, you can still hear the classical restrain as well as the emotional charge of the romantic period in the sonatas.

I would suggest to do what Gizmo Hall said and analyze and transcribe the works of the early romantic composers. 

When doing so ask yourself these questions:

• How are themes and motives being developed, and not just how are they reiterated. 
• Does the music modulate, use borrowed chords, or use chromatic chords and how?
• What are its extremes? (range, virtuosity, dynamics,)
• What artistic liberties does the composer takes?

Just cheat and use mode mixture. 

It might help to use more varied intervals. Using dissonant melodic intervals can create a more interesting sound: tritones, sevenths, nines. And, who says that you can't use leaps larger than an octave. (okay some people do) Don't worry too much about the melody writing rules you were taught in high school music theory class. They are a good place to start but can be very a limiting and result in generic sounding music, which you don't want.