I finally got to composing at around 10.30pm this evening, after returning from my first rehearsal with the Illawarra Choral Society for the year. We began hectic preparations for a performance of Bach's Jesu, Priceless Treasure and some of the chorales from his St. Matthew Passion. I also started learning some Bach pieces on classical guitar at my first lesson back this year. Why all this Bach? I see it as an important part of my musical education. What better way to learn about four-part harmony and the twelve-tone system than to analyse a Bach score? I haven't done any analysing yet, but already I am suprised with how my sight reading has improved from singing Bach tonight.
I have decided to dedicate 40 mins a day to composing. This might not seem like much, but if I didn't do this I would compose for 3 hours one day and none the next. Self-discipline has to take precedence over the delights and dangers of creative flow ("flow" is a psychological concept that is worth looking up). I didn't make much progress tonight. I got stuck on trying to work out the dynamics of one bar and when I finally got to composing the notes for the next one, my time was up and I had to force myself to stop.
I had some thoughts while listening to Mahler's 5th today. I wondered if his dramatic genius had something to do with his unique ability to synthesise vastly opposing themes and motives, so that the rivalry between them became the foundation for a movement. This could be an idea to keep in mind for both the overall structure of a piece and the orchestration from bar to bar; however, I don't think it works without having an advanced understanding of texture and detail. I have the feeling this ties in closely with visual arts as well.
I have decided to dedicate 40 mins a day to composing. This might not seem like much, but if I didn't do this I would compose for 3 hours one day and none the next. Self-discipline has to take precedence over the delights and dangers of creative flow ("flow" is a psychological concept that is worth looking up). I didn't make much progress tonight. I got stuck on trying to work out the dynamics of one bar and when I finally got to composing the notes for the next one, my time was up and I had to force myself to stop.
I had some thoughts while listening to Mahler's 5th today. I wondered if his dramatic genius had something to do with his unique ability to synthesise vastly opposing themes and motives, so that the rivalry between them became the foundation for a movement. This could be an idea to keep in mind for both the overall structure of a piece and the orchestration from bar to bar; however, I don't think it works without having an advanced understanding of texture and detail. I have the feeling this ties in closely with visual arts as well.
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