got me thinking about different compostional approaches
for eg conventional wisdom is that Mozart had the his ideas full formed in his mind before they reached the paper
and that Stravinski composed on a out of tune piano he need the physical sensations to spark the idea
my own observation is that when the composition is natural there always seems to be this association with flight hence Rise with the angel
or for that matter the great Charlie Parker whose nick was bird
the art of composing for me is ignited by an inspiration. Having the colors on my pallet allows me to work thru this spark of ignition just like an artist does with his/her canvas. What it becomes is not perceived initally, it is always carved out and the results are embellished, reviewed, balanced for clarity and I try to maintain a soulful objective to complete it. I\'m not the kind of composer who hears the so called sonata allegro parts while daydreaming, it only happens to unveil itself for me during the stages of development.
Allen i think i hear what you are saying to me your approach sounds more aligned with Beethoven
to me Beethoven and Mozart had a totally different relationship to how ideas formed in their mind and consciousness i havent a clue how to proove this
and the same goes when i listen to a great jazz improvisaton it sound like an instant composition and of course it is but when it goes wrong it sounds like mud even when the notes seem closely aligned to a improvisation that seems to work
i suppose what i was initially trying to get at was how does having the sample libraries physically and mentally effect the act of composition itself
I\'ll tell you this, when I finally found the right Sampled Piano for my Giga library, the inspirations to improvise in the Jazz genre as well as Big Band scoring goes, ignited my night sky. Come and Visit My Site Below.
Having GREAT sampled instruments, certainly increases the power to arrange and compose 10 fold Charles. When a sampled voice doesn\'t fit you must acquit because you\'ll be banging your head against a brick wall trying to convince yourself that the money spent for these sample(s) has to be worthwhile. There are great monetary risks out there when seeking out great sampled sounds. Think of it this way, if you\'re married to a great lady such as I am, the boat floats forever. If you\'re constantly bickering with her, you\'re wasting your time and hers. You will either stay in denial or abandon ship for something long term that offers contentment.
I have to say I generally stay as far away from technology as possible when it comes to composing orchestral, ensemble or piano/vocal music. If its absolute music intended to be played purely for a concert or private performance then the aim is to realise music that sounds fresh and spontaneous (almost improvised) but is rigorously bound together by the most thorough logic and structure.
Chopin was one composer who mastered this. You can virtually hear him improvising through his passage writing and ornaments BUT his finest music, such as the Ballades, is also organically structured, with flawless piano writing and purely his own voice and no-one elses.
Sitting down at your sequencer and thinking about innumerable technical problems is so very counter-productive to this process IMO. I\'d much rather just take myself and my imgaination for a stroll through the local park and do it that way, or, in the case of jazz work, just chill out with a few beers and let it all just gradually gel together with sensitive musicians.
For mainly electronic or electro/acoustic scores though I have no problems working in the studio and finding inspiration through the sounds at hand. One trick I\'ve found useful is to actually limit the amount of tools I use on a production. Rather than load ever single soft synth or sample library in, I\'ll choose a few that I find work well together from the outset and mostly stick to them.
As an arranger, one thing I often find is that many composers have real difficulty realising their thoughts with western notation - and notation is a big, big part of the craft of composing for orchestras and the like. Its all very well sitting down and jamming out a couple of passages with the SAM Horns library or whichever you\'re using, but writing it down onto paper so that it can be realised to its maximum effect by performers is another thing. I\'m frequently handed scores by composers who are a long way short of mastering this and even have trouble describing exactly what it is they do want.
Christ, their I go again off topic. Time to shut up.
To me samples is just a way to give me rough sketch or idea of how my piece would sound like in live performances - I never write for the samples, that\'s I don\'t let the samples control what I write and don\'t write. That will probably mean that I\'ll never get \"ah, this is most realistic sounding virtual orchestra...\" comment, but I don\'t care - it\'s the music which matters most and should be in 1st, 2nd and 3rd place.
I write most of my music with either paper & pen or in Sibelius. I have tried to compose in Sonar but that\'s just not my thing, I like to notate my music properly right from the beginning of my composing process.
However, this is just me and what works for me won\'t work necessarily for other people.
You will hear some more of my pieces real soon, I\'m getting a brand new computer and GOS Lite is on it\'s way. Woohoooo...!!! [img]images/icons/grin.gif[/img]
yeah jonp the notation point you make is a very good one ! its easy with all the technology to end up very isolated and this can be a trap for some people leading to a situation that you point out the inability to communicate your orchestral ideas to real people in real interacting enviroments
your point about chopin is also very interesting the coming together of the improvisational and the more logical thought out procedures
my intutions about that lead me to think that with time certain compostional procedures that belong to a period in history get lost or loose cultural relevance for example maybe sample libraries will lead to the loss of composers with notational skills this maybe is a gradual process that we dont notice happening around us
another one might be how the african american jazz muscians brought back the art of improvisation that was made difficult by the growing complexities of European orchestral music
so what could well be our amazement of certain skills is purely that they have culturally been forgoten and your chopin example made me think of this we maybe to far removed to see what lead to his skill