Last month I had the distinct honor of attending a Holiday concert in a rather chilly New Jersey, during which my Global Music Award winning piece Wind Quintet 1 was played for the very first time. Thanks to Jane Rondin and the Zephyrs Winds, I got to hear what the ‘human element’ could add to the composition I’d been hearing in my head and online for weeks.
The audience seemed to really enjoy all four movements and I’m so pleased there were many friends & fans who were able to join us before (for drinks in town), during and after the concert – thank you. It’s always really nice to see familiar faces and meet new folk, too.
For those of you who were not able to attend, here’s what happened:
In Sonta Form there are usually two themes (see last week’s post for the Main Theme of our new piece). This past week that theme and the complimentary Secondary Theme were added to the score, twice each, and spread amongst all the instruments. When these two themes are presented for the first time in their entirety, it is usually in a section called the “Exposition” and this is what it sounds like in our “Sonata for Chamber Orchestra”:
Now it’s time to move on to the “Development” section. This is usually the longest section of a piece in Sonata Form as the composer can take snippets of both themes and twist, turn and combine them. They could also be played backwards, upside-down and of course, backwards AND upside-down! These compositional techniques serve to add variety, interest and keep the attentive listener guessing or trying to figure out what’s happening to the music.
Now let’s place those notes in reverse, like a mirror image. You don’t have to be able to read music to see the “Retrograde” pattern:
Ok, now it gets a little tricker. Notice the way the original notes move up (higher) first, and then jump down at the end. Then look at the second bar and see the opposite – the notes move down (lower) first, and then jump up at the end. The melody has been “Inverted“:
Finally, let’s try and combine these two elements together. In this example, we first inverted the melody and then took its mirror image. See how the first note of the original (E, in between the top two lines) is also the last note in the Inversion Retrograde variation:
There was a time when audiences didn’t have the kind of soundbite distractions we do today, and many could actually HEAR these variations as the music was being played. What a skill! Nowadays we’d consider someone who could do that a genius, in the same way anyone under 18 would call someone who can legibly write cursive/ joined-up text must be a genuis (since public schools in the USA stopped teaching it).
For our new piece “Sonata for Chamber Orchestra” here are some of the snippets from the main themes that appear throughout the Development section:
And you’ll just have to wait to hear the complete Development section, I’m afraid!
Tell me below one thing you found fascinating about today’s post. Next week we should have the introduction and Coda (ending) completed, which means the entire composition will be ready! This is your last chance to have an influence on our new piece of music!
“Aside from purely technical analysis, nothing can be said about music, except when it is bad; when it is good, one can only listen and be grateful.”
What do you think?
There are times when this doesn’t just apply to orchestral or choral music – a good show tune (particularly from Marvin Hamlisch or Frank Wildhorn) can easily separate us from our troubles for a moment, and even a thumping solid tune from Lady Gaga makes us appreciate her remarkable musical skills, despite her disappointing marketing techniques.
Think about what music makes you forget about the world, and see if there’s a live performance near you coming soon. Or perhaps set some time in your calendar to sit and listen. Use the comments below to share what the piece is, and when & where there’s a concert.
There was recently an unscientific poll taken amongst office workers in the USA. Whilst a myriad of issues, concerns, quirks and considerations could be used to undermine the results, I’m not really caring. Instead, I’m choosing to see that classical music not only made it onto the list, but is way, way up there in third place.
My favorite relaxation technique is…
Walking or jogging – 47%
Meditating or deep breathing – 19%
Gardening – 12%
Doing yoga – 6%
Listening to classical music – 15%
Total votes: 1147
Apart from the momentary joy, doesn’t this bear thinking about?
We have lots of Garden Centers and garden sections of superstores, and many small yoga clubs and sports stores that sell yoga equipment (& CDs). Some of the superstores even have music/ entertainment sections. So I wonder why the range of classical music CDs is shrinking so much? According to this survey, we should be seeing more concerts and more options available for purchase! One of the problems (in my humble opinion) is that the classical music recordings available all seem to be the same.
Not to the trained ear, perhaps, but to the vast majority of people who might enjoy classical music, they only need one CD of Beethoven or Mozart, yet the industry DROWNS us with the same material over and over. Not sure there are many other genres that do that… perhaps Opera. One young professional was recently asked why they didn’t attend classical music concerts, to which his reply was “they’re all the same. There’s nothing new I like.”
The first family car I remember – a Ford Cortina (UK)
And ‘new’ doesn’t necessarily have to mean unpalatable Stockhausen or Birtwhistle (warning: link to audio dissonance), either. Think about it: Pop music primarily uses the same chord sequences over and over and over, yet there is still a ton of new music being produced on a daily basis, both by the commercial heavyweights (labels) as well as grass roots. To some of my non-Western friends who don’t get to hear much music at all, they thought Gaga could have been a breakaway soloist from Abba (warning: link to endless audio pleasure). Nice! Lyrics may change, but stories & topics don’t much. Tunes may alter slightly, but the beat and chord patterns don’t much.
So why does the classical music industry not encourage more ‘palatable’ new works, even if they sound similar to previous compositions? Even the experimental, advanced, high-tech, forward-thinking, slightly differing Formula 1 race cars still have four wheels, a couple of mirrors and the need for speed, just like my dad’s old family Ford Cortina of the 1970s.
I’m gonna change that… I’m going to join the rest of the composers who feel no shame in writing music that is ‘likable’ and ‘listenable’ and see what happens – see who attends my concerts and buys my CDs (when I get to make one). Hey, if one of my pieces can attract some 23,000 YouTube views………..!