compositional methods (was: Tonescape?)

On Fri, 30 Dec 2005, Kraig Grady wrote:
>
> Sorry to be obscure.
> With top down one has a concept of a guiding plan as to how the
> composition will go.
> or maybe the correct idea would be a priori ideas that might or might
> not wholly exist outside time. (structural forms in example)
>
> with bottom up the composer would start with a germ of an idea ( such
> as a motif) that would grow like a seed into the full composition.
> The latter i have never been able to do, as far as starting at the
> beginning and going all the way through, unless i already have some idea
> of where i am going.
>
> Rick McGowan wrote:
> >>This brings up a question i have about composers in general, do they all
> >>work from top down ideas are are they composers who work from bottom up
> >>constructions.
> >>
> >I don't know how to interpret "bottom-up" and "top-down" in this context.
> >What do you mean?

Probably mostly "bottom-up", altho I may still have a
good "top-down" idea of the sound or general structure
I want when I start. This is the SABEAMITM (Start
At Both Ends And Meet In The Middle) method! :-)
I write poetry the same way.

I usually start with some sounds - it could be a theme
that I hear in my head and demands to be played, or
it could be a cluster of notes that happen when I throw
my fingers down sort-of-randomly on the keyboard,
guitar or simple wind instrument (vertical flute, whistle
or recorder). Often, too, when I'm walking somewhere,
the rhythm suggests some rhythmic motif which then
gains a tune as I go; the tune may pick up on coincidental
sounds like a car horn, a siren or a bird song - no, I don't
mean I've ever heard a "siren song" - yet!

Once I've got such material (and I discard most of it
because I simply don't have time to get them all down
before the next one pops up), it's a pretty straight-
forward process to elaborate it into something bigger.
To do so, I use classic contrapuntal techniques, harmonic
blocking, textural and range changes, and sometimes a
bit of "cut-up" � la William Burroughs. Also, the phrases
of any theme used long enough build up their own metres,
and as in any conversation, phrases call for answers, so
I often create a counter-theme that deliberately
contrasts with the original, expand that a little, and then
combine the two. Sometimes, too, I set out on a process
of systematic variation, both of melodic twists on a short
motif and of rhythmic grouping, for example by shifting
the start position of a triplet group within the metre,
which, when combined with counterpoint, gives some very
unusual cross-rhythms. Oh yes, sometimes, I set my own
poetry to music; at other times, my music suggests words.

Well, that's my process; how successful it is may be
difficult for you to judge, since I don't have any of this
stuff published anywhere, tho there's plenty of it. For
example, my WIP (work in progress) folder for 2005 has
95 files. Most of these are still a little raw; some are
only quick sketches that need fleshing out; but a dozen
or so are, I believe, playable or singable or both. I call a
piece "finished" when I can enjoy how it sounds as a MIDI
file realised on the Roland E-28 keyboard, or as the file
in NoteWorthy Composer format (.nwc) from which such
a MIDI file can be written. I rarely convert the NWC or
MIDI file to an audio file, tho, for two reasons - one is
that I keep forgetting how (and it changes with what
audio software I'm using), and the other is that I'm sure
these pieces would mostly sound better if they were
played on acoustic instruments. The least satisfactory
aspect of the MIDI realisations for me is the lack of
variety and control of the singing voices. If you do want
to have a notion of the music I make, there's a plug-in
for WinAmp that is a NoteWorthy Player (it plays .nwc
files). The .nwc files are small, so I could throw a few of
them into the MMM files area if anyone wants to listen.

But do remember that the sounds you get will be those
of your own MIDI implementation! I've noticed that
different kit sometimes gives an entirely different
balance between instrumental parts, which can make
something that's fine in one place sound very out of
whack elsewhere.

Regards,
Yahya

--
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.1.371 / Virus Database: 267.14.9/217 - Release Date: 30/12/05