Gary, I'd be most interested to hear more about
your musical objectives in your writing.
Often, I feel as though I've been invited into
the middle of a piece; that beginning and ending
do not play a role in your musical thinking.
This piece again leaves me with that sense.
It's interesting writing; quite skillful in many
ways; intriguing and alluring. Yet it seems to
be a moment in time; a turning over in the mind
of a particular and specific but engaging thought;
which, once examined, is forthwith left to float
off into the winds of cogitation.
This has more than once given me pause for
consideration... this sense of the "existential
Thank you David,
I understand that my music is a product of writing with li†tle or no
plan. When I begin with a particular structure like a Minuet or Scherzo,
it either comes up short or too extended.
After three years of hearing this about structure, I'm wondering if
it's just about Classical insistance on form as opposed to Romantic
reacting against strictly following a form, or it's just not going thru step-by-step constructing of a piece.
Wri†ing has become easier as I daily write for 4-12 hours-depending
on a project. Mistakes or omissions I made in †he past are clear as
I learn more. For instance, the discussion by Gary G abou† the Forum
assumes †hat all composers can recognize when their music isn't a finished product. During my first years of composing, I seldom entered dynamic markings since it seemed to be ok in playback. I have come
to the place where one of the last things I do is place cresc/decres thruout a piece.
I think that comments on any piece should lead to an improvemen†
or at least acknowledge whether or not the listener enjoyed the piece.
There's no poin† in becoming defensive abouut your own music even if you don't agree with a criticism.