Composing B: And so it begins…

Following last week’s post about how to start a composition, well… how I am starting this composition… a few decisions have been made.

Whilst looking around for a compositional structure I came across several main elements:

Each have their own special qualities and after a little thought, I thought it would be nice to try Sonata form. I don’t remember the last time I wrote something in Sonata form (and stuck to it) so here’s an opportunity.

At the moment, Sonata form will form the dominating format, although during the creative process unexpected twists and turns can often lead compositions into completely unplanned territory.

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The creative process can take unexpected twists and turns that lead into completely unknown territory. via @Stephen_P_Brown

Sonata form structure:

  • Introduction
  • Exposition: A main theme (usually a melody) followed by a second theme in a different key*
  • Development: Both themes mixed together through wildly changing audio experiences, although still always related to the exposition somehow
  • Recapitulation: The main theme revisted plus the secondary theme in the ‘home key’
  • Coda: An ending unlike any other. Or, probably like every other.

Beethoven had a really hard time ending his music, so pieces like his famous Fifth Symphony could actually end many, many times but none of them actually do end the piece. Until there are no more chords left.

Dudley Moore had a similar problem:

Dudley Moore doesn’t stop…

So, quite imaginatively, let’s call our piece after its structure, “Sonata.” But who is it for? Well, it’s for a chamber orchestra of sorts. Not piano, nor violin or any other solo instrument. So we can expand the title of our new piece of music to: Sonata for Chamber Orchestra. Like it? I do. Don’t like it? Are there any other options? Yes. Lots. Think of a title and put it in the comments below.

(*)
I also chose to go with the key signature of G Major. The KEY of a piece of music tells the players what tonality to focus on. In the Western world we have developed a system using 12 different tones that repeat (on a piano, play every consecutive note starting with the left of the three black keys, F sharp(#). You’ll end up hearing ‘another’ F# 13 keys later). From those 12 notes, 8 of them form the basis of tonality – major (happy) scales and minor (sad) scales.

Again on a piano, find ‘C’. It’s the white key immediately to the left of the two black keys. Play that C plus only the 6 white notes to the right, and then finish with the 8th key which is actually another C. Repeat. And repeat. Start with any C and play the scale – they all sound the same only higher or lower. The combination of tones forms the scale, in this case a major scale.

Copy that combination of tones but start on G (G is 5 notes up from C, including C. It’s the white key immediately to the RIGHT of the LEFT-MOST of the THREE black keys. Got it?!). Only this time, instead of playing all the white keys, when you get to the 7th key, don’t play it. Instead, play the black key immediately to the right – that’s right, F#.

This major scale is what will form the tonal foundation of our new piece.

G Major scale on a keyboard

G Major scale

 

Next week, lets look at the melody, or the ‘Main Theme’

Beaches and Boats

“Beaches and Boats”

The first movement in my new piece “Tapestry Tampa Bay” seems to sum up my initial impression of life here in Tampa Bay. There are beaches everywhere. There are boats everywhere. The latter is quite understandable bearing in mind that three sides of the St. Petersburg/ Clearwater area is surrounded by water.

The former was, well… unexpected.

The largest and most famous beach is Clearwater Beach. But that entire coastline is full of them. From Sunset beach in Tarpon Springs to Sarasota’s Siesta Key (#1 beach in USA) and beyond, there are miles and miles of soft warm sand. It is a grand spectacle and a luxury we have fully indulged in many times since moving here – especially the beaches on Honeymoon Island.

The opening of my piece reflects the grandeur of Clearwater Beach. Although wide and long, it doesn’t take too much time before one gets either lost or burned, so must retreat to safer quarters such as the Clear Sky Cafe. The same theme is used to demonstrate another beach just as wide and just as long – Indian Shores. Then another, less grand beach such as Caladesi Island (read more about this idyllic isle here). And other similar-sized beaches. Then there are the medium beaches and finally, a couple of spurts of tiny beaches such as the aforementioned Sunset Beach.

Marbel photographed by Melissa at Sunset Beach. There’s not much more to it than this.

So, it’s time for sailing. Although there are many, many more power boats than there are sailboats, there are still plenty of the latter, and my first experience on the waters of the bay was in a sailboat, thanks to our dear friends Dale & Barbara.

The flowing, smooth, calm swaying of gentle waves and a hot breeze across the cheeks is what follows in my music. There are some dolphin sightings as they pop up to say hello, but the music is clearly as peaceful and tranquil as sitting in a wind-powered water-glider in the hands of an expert.

Sailboats are popular in St. Peterburg.
Dale doing his thing.
Wild dolphins are frequent and friendly.

Of course, along the way we pass several small and private beaches along the Bay’s inside edges, so the music eventually combines the beach theme with the boat theme: “Beaches & Boats.”