Online Compositon Lesson

[ttw]

I do have some of these in my next version. Perhaps I'll try something in three to a bar too.

Some of you other guys need to put up something.

[ttw]

Third version. Using eighths and quarters allows longer things. Most of the unity is achieved by repeats interspersed with some suspensions treated differently across the piece.

With a greater range, the repeats could be replaced by sequences or near-sequences. Inversions would work even in the restricted range.

One mild conclusion from the exercise is that (at least for me), the fifth C-G has a bit more harmonic potential than B-F or D-A. With C-G, one can almost make a I-ii-V7 sound; with B-F, it's mostly I-V7 (or vii0) but with stronger melodic cadences. D-A is a bit like Dorian.

[stevel]

Originally Posted by ttw

Third version. Using eighths and quarters allows longer things. Most of the unity is achieved by repeats interspersed with some suspensions treated differently across the piece.

With a greater range, the repeats could be replaced by sequences or near-sequences. Inversions would work even in the restricted range.

One mild conclusion from the exercise is that (at least for me), the fifth C-G has a bit more harmonic potential than B-F or D-A. With C-G, one can almost make a I-ii-V7 sound; with B-F, it's mostly I-V7 (or vii0) but with stronger melodic cadences. D-A is a bit like Dorian.

D-A is like dorian isn't it - even though there's no B!

I like your final version here best of anything I've heard thus far - or rather than say "best", I feel it has the "most balance" of unity and variety. Obviously, in some situations you may need more unity or more variety so it always can depend on the situation.

My kids have had toys that only have 5 pitches on them, and it can be quite interesting to see what you can do with just those 5 notes. I think ultimately, it points to the fact that you don't have to have umpteen chromatic notes, or umpteen different rhythmic values in order to maintain "fresh" sounds in your music.

Thanks for participating Tony - I wish some others had - where's Boneman? I thought he'd enjoy this.

Steve

[ttw]

Philidor wrote some marches for two drums (maybe even for one drum). They don't sound bad.

I thought about writing a bugle call. Maybe some of the brass players can contribute one.

(I'll be gone most of February; my lack of postings won't imply a lack of interest.)

[Boneman]

Hi Steve! sorry for the delay. I am enjoying this and intend to get posting!!!

Give me some time.

Here you are Steve! This was done without the aid of audio.

[stevel]

Originally Posted by Boneman

Hi Steve! sorry for the delay. I am enjoying this and intend to get posting!!!

Give me some time.

Here you are Steve! This was done without the aid of audio.

When you say done without the aid of audio, do you mean you didn't hear it as you went?

You cheated on your second example :-) - you used three different note values, and dots and ties! Bad Boneman, bad boy.

I have to say your example 1 is quite interesting - that is, it continues to hold my interest throughout. I think this is due to the D-A leap after all the static and repeated Cs and Ds, and then after that, the B is a fresh sound. Right after that, the leap up to E makes that note fresh as well. The ending is a little "B-O-L-O-G-N-A" - if you know the Oscar Mayer thing, D-F-E-D-C-E-C - I always call these little patterns that. My point is, after the uniqueness and interest of the first half, the second half is more traditional. That's not a bad thing at all, just an observation, and it helps give this a bipartite structure.

Ex 2 is obviously a rhythmic variant. I think though, the rhythm doesn't necessarily "do anything" to the original - it doesn't seem to add or detract. Would you agree? I do think something that does add to it though are the rests - very well-placed and again, add interest.

Ex 3 is a melodically varied version. Hmmm. I think by "filling in" the longer note values, you've eliminated a lot of the rhythmic variety from the original (which is one of the things I tasked participants with doing). I hear this one as more of a "wandering" idea - especially since many of the filled in notes are stepwise neighbors. However, again, I do think the rest (in m.21) really adds to the music. It's an element of interest yet again.

Ex 4 is obviously a combination of 1 and 3. I'm not sure if the two work together. I think ex 3 is "weaker" by not having its own melodic identity. It seems that presenting them in succession at least gives the 2nd half some relation to the 1st half since it's obviously a variation of it. But I don't know if them simply being "related" and one being a "varied repeat" of the other does much for both being presented as a whole. What do you think?

I think the impact of the 2nd half is also reduced by the fact that the first half ends on these 2 Cs, and then the 2nd half begins on yet another C, so it's appearance is sort of anti-climactic - it's as if the 2nd half just "rambles on" after the 1st half, until we are able to realize when the identifying elements occur (the D-A leap, the B note, and the leap up to E) that this is similar to the 1st half. Do you agree?

It's interesting that you also stayed within the range of a 5th, though you cheated (read those instructions!) and used a 6th note near the end - the G! Nonetheless, the G is certainly a fresh sound at the end of each example.

Let me know what you think.

Steve

[Boneman]

I bow to your endless knowledge! Would you like me to submit something else?

I am working on a new piece for orchestra, would you like me to PM it for your delectation!!?

[stevel]

Originally Posted by Boneman

I bow to your endless knowledge! Would you like me to submit something else?

I am working on a new piece for orchestra, would you like me to PM it for your delectation!!?

I think it would ultimately be more informative to everyone if it were discussed on the forums. That way others can also offer their suggestions as well.

Steve

[stevel]

Would you like me to submit something else?

Oh, go ahead an submit some more examples if you like - Tony did about three sets or so, so there's nothing wrong with a couple of submissions - the way I see it, the more material we have for perusal and comparison, the more everyone can gain from comparing and perusing them. :-)

Do me a favor though, start a new thread:

Online Composition Lesson: Boneman's submissions.

if you do. This one is getting long and I'm afraid that it will become hard for other readers to dig through.

Steve

[Boneman]

Sounds like a good idea. Maybe the higher powers can move the required posts to the new home?