So, let's assume we have found a very simple melody made up of some single little notes (for example: whistling in the shower and a little tune comes out) and we are therefore trying to compose a 'basic' structure around it.
At that point, what could the composition process look like?
1) do you see the group of those little notes to see which chord/scale they correspond to?
2) do you find the key?
3) do you establish a harmonic progression under those 'little notes'?
-> can you confirm if, from a logical point of view, those points make sense?
In the past, I believed that each of those little notes represented a root (which I erroneously called the tonic) from which every chord could then be derived; instead, it seems to me to understand that even if those little notes form the main melody, it is by no means certain that they are roots, but they can very well be part of a different degree of the same scale / chord.
I don't know what a basic structure is, but do you essentially want to write a composition starting from a melody or motif? If that is the case, the work to be done is to harmonize said melody, as can be learned from jazz musicians (today) but also from the times of Monteverdi (but not only), there isn't just one harmonization for the same melody. A practical example taken directly from the forum:
Compare harmonies and keys... you will see that there is also a different use of the mode, harmonizations in major or minor. What is the key? One possible one according to your own taste.
it seems to me that even if those little notes form the main melody, it is by no means certain that they are fundamental ones, but they can quite well be part of a different gradation of the same scale / chord.
Exactly, not only that, they can also be part of different scales or modes... but there are also other worlds to explore. It depends on what you want to derive from that motif.
Think about what Mahler wrote about the notes of Fra Martino or Bach about the simple chorales taken from the Pietists... and Bartok from folk melodies. Just a few examples.
What would you like to draw out from that little motif?
For the sake of completeness, I should point out that audio elaborations also exist... everything is relative; in the topic title you speak of the creative process... let's not put limits on fantasy, let's eventually define a context.
G
Gerardo
Member
Reply 4 by Gerardo
Posts
277
Aside from quoting previous interventions, Zazzi, from what I understand you want to stay within the realm of melody/harmony. A motif can indeed have several harmonizations, but it is not necessarily true that the harmonization sometimes influences the choice of the melody. What do I mean? I mean that the choice of a more interesting chord can generate an on-the-fly change in the melody itself, all to achieve something more effective. Clearly, it is not mandatory, and bending harmony to melody is a great art.
I must clarify that I am a 'goat' [beginner]. But I am not saying this to justify theoretical and study deficiencies (which are at the base of everything and it is good to do, and I intend to do so), let me be clear, but just to give an 'idea' of the type of interlocutor.
By basic I meant, very minimal and brief.
I would like to do this (not always or as a universal method, mind you, but only on this occasion) as a method to fix some concepts.
Phase 1) 'pure' creative process: whistling and finding the little tune in the shower (it is an example)
Phase 2) 'compositional' process: embedding the little tune and deriving from it a very raw musical piece: to do this, however, I would like to set some boundaries (I repeat, only to fix some concepts, not as a universal method).
I know well that there is no rule telling you that given a certain chord then you will necessarily have to, for example, use certain notes to build a verse, but there are reference rules that perhaps work as a compass.
Here: I would like to have a compass.
G
Gerardo
Member
Reply 6 by Gerardo
Posts
277
Then try posting a little melody and the chords (symbols are enough)... in order to contextualize the indications. Just transcribing the melody into measures will already give you some difficulties, and this can affect any eventual harmonization. Try it to believe it.
I understand Zazzi, your reasoning might work, but in short, it's a matter of harmonizing the little motif. If the motif stays in the key, then it's just a matter of finding the "progression" of that key... but if it wanders a bit, things could get a little more complex. The only way is to show your work, motif and chords... then we'll see.
V
Videoclip
Member
Reply 8 by Videoclip
Posts
140
I suggest you try doing the "opposite" as well; take a chord progression from your favorite singer and try to find a melody yourself that fits those chords, you'll see it will be very useful. You will use, for example, the notes of the chord and some passing notes, turns, some leaps, etc. Then you will gain a certain autonomy and even doing the opposite, starting from a melody, will result in being less difficult...
