Why Compose Music?

Ciao

Nella mia piccola esperienza non ho ancora provato a comporre qualcosa anche perché non saprei da che parte iniziare, cioè ... mano destra o sinistra? Chiave di violino o basso?

Però ammetto che in questi 9 mesi di studio mi è capitato che qualche melodia mi frullava nella testa ma poi nella pratica mi blocco, forse bisogna essere portati per la composizione, cioè oltre alle conoscenze tecniche di composizione, armonia ecc.... ci vuole anche una parte immanente che ti arriva dall'alto o che è parte del DNA di ciascuno di noi, è una cosa che non si impara solamente a tavolino, è un dono meraviglioso. 😕

Riguardo il Preludio n° 7 di Chopin, mi da la sensazione di svogliatezza o meglio spensieratezza.... sembrano delle note di passaggio senza troppo peso appaiono leggere e così finiscono, io non sento nessun tipo di malinconia o tristezza... boh, il bello della musica è che le sensazioni possono essere soggettive. 😉

Davide

PianoScholar wrote:

Hello!

In my small experience, I haven't tried to compose anything yet, also because I wouldn't know where to start, I mean... right hand or left? Treble clef or bass?

However, I admit that in these 9 months of study, it has happened that some melodies were buzzing in my head, but then in practice I get stuck; perhaps one needs a talent for composition, meaning that besides technical knowledge of composition, harmony, etc.... there is also an immanent part that comes to you from above or is part of each of our DNA; it is something that cannot be learned just by sitting at a desk, it is a wonderful gift. 😕

Regarding Chopin's Prelude No. 7, it gives me a feeling of listlessness or rather carefreeness.... they seem like passing notes without much weight, appearing light and then just ending; I don't feel any kind of melancholy or sadness... oh well, the beauty of music is that sensations can be subjective. 😉

Davide

Dear Davide,

thank you for the response, it's nice to be able to compare different opinions...

You know, sometimes "melodies come to mind" for me too, and sometimes I try to write them down, to play them... but you are right: how to start? Right hand or left?

Other times, instead, I use a different method: I sit at the piano (which I don't have: let me correct myself, I sit at my electronic keyboard which is 15 years old) and try to express how I feel with notes: if I am sad, I start from a minor scale (I love G minor very much, with which I use the relative major, B 😉 and I "play around with it a bit". Then... and then I wait. What I'm waiting for, I don't know, but I wait, waiting to have the idea that allows me to perform a certain scale passage, or an articulated phrase. But until it arrives, I wait, and I continue playing in G minor. I agree with you on another thing too: composition cannot be taught at a desk; it is necessary to have a minimum level of ability.

I would like to be able to discuss this and many other things with you... for example, I would like to find a solution to the question "where do I start?"

We will surely hear from each other again, perhaps with some news!!!

Thanks again!

Bye!! Francesco 1797

Hi, I'll start by saying that I am not a composer but a pianist; however, I can give you my opinion since, in preparation for the biennial complementary harmony exam (which is nothing other than the two-year period of the 10-year composition course), I studied under a composition master. What is learned in the harmony course are the basics to avoid making mistakes, even if sometimes composers make mistakes intentionally. Harmonic rules are those that suggest sounds that are as pleasant to the ear as possible and modulating solutions that are consonant with each other; however, in some situations, parallel fifths can also work well. It all depends, therefore, on a certain aesthetic of sound. Obviously, each of us cannot be a composer! Some of us have inclinations for biology, others for literature, and others, why not, even for composition. Certainly, one must have some basics to be able to produce something purely artistic, especially in the field of classical music. However, when I arrange a pop, light, or rock music track in Logic, I often resort to solutions from classical harmony or, in any case, to the classical "sound" which always resolves all the problems that inevitably arise. In essence, it is difficult to be born a composer, and even the most famous ones had to study before achieving results. Little to nothing is achievable without solid theoretical foundations; whether practice is ultimately the effect of the artist's soul is a given.

Dearest all,

You remind me of when in my childhood (at only 5 years old) I first put my hands on the piano. My father, a lover of Music and especially Cinema, had taken me to see a film about the life of Strauss the son. I arrived home, opened the old family Feurich, and played by ear that waltz that I had liked so much. In the end, I turned my gaze and saw the dismayed faces of my parents and my grandparents. Their eyes were wide with amazement, but for me it was normal. I had done nothing more than repeat what I had heard. Afterwards, I would sit at the piano to play. I composed, invented, and remembered what I did. My compositions were love motifs, even if I didn't yet know what that was. Whoever came to the house was forced by my grandmother to listen to what I had invented, and I would perform, announcing the titles I had given to my compositions.

Now that much time has passed, I am no longer a "composer"; I only play, my diploma is only in piano, and in concerts I play classical compositions. That sweet memory of when I used to invent and the creative sensation I felt has remained within me. Beyond "compositional science," we can all create and experiment. The rules of Harmony do exist, yes, but even at a high level, they are governed by good taste. So courage, young composers....who knows if other "little Mozarts" will be born!!!!!

Ad Majora

Paolo

P.S. Forgive these tender memories of my past.

Here I am again...

Just a brief reflection inspired by someone today (the "person of the Prelude", of the rising sun; even my Piano Teacher used to define Preludes this way, a sweet Sunrise, an 'Aurora... as you prefer')

No, for some reason I changed my mind ... the ending must be melancholy: after all, the piece is very short (48 seconds or a little more), and it seems to be a "snapshot" of a beautiful and happy experience; we are sad that it ends, in fact the ending (even though it consists of a major chord, if I'm not mistaken A major) seems to say on its own "I will never forget you", as if time passed too quickly to truly say what one feels... (I don't know if you followed me, my train of thought is a bit "free", I said what I feel too quickly!)

In fact, if I were to dedicate this piece to someone, I think I would try to express my happiness for having met that person, but - in the melancholy ending, I should say with a single harmony "I will never forget you".

Or at least, this is my way of interpreting the piece (and the person to whom I dedicate it, a dear friend of mine, a pianist, with whom I had an argument, who advised me on the melancholy ending...)

I will revisit this theme also regarding composing music (I see myself in what Paolo Ferrarelli (Pianoexpert) said in the message above.

For now, goodbye...

Ciao!!! Francesco 1797

pianoexpert wrote:

Dearest all,

You remind me of when in my childhood (at only 5 years old) I first placed my hands on the piano. My father, a lover of Music and especially Cinema, had taken me to see a film about the life of Strauss the son. I arrived home, opened the old family Feurich, and played by ear that waltz that I had liked so much. In the end, I turned my gaze and saw the dismayed faces of my parents and my grandparents. Their eyes were wide with amazement, but for me it was normal. I had done nothing more than repeat what I had heard. Later, I would sit at the piano to play. I composed, invented, and remembered what I did. My compositions were love motifs, even if I didn't yet know what that was. Whoever came to the house was forced by my grandmother to listen to what I had invented, and I would perform, announcing the titles I had given to my compositions.

Now that much time has passed, I am no longer a "composer", I only play; my diploma is purely in piano, and in concert I play classical compositions. That sweet memory of when I used to invent things and the creative sensation I felt has remained within me. Beyond "compositional science", we can all create and experiment. The rules of Harmony exist, yes, but even at a high level, they are governed by good taste. So courage, young composers.... who knows, maybe other "little Mozarts" will be born!!!!!

Ad Majora

Paolo

P.S. Forgive these tender memories of my past

Mr. Paolo, your experience is truly touching and also very instructive; thank you for sharing it with us!

Francesco1797 wrote:

Here I am again...

Just a brief reflection inspired by someone today (the "person of the Prelude", of the rising sun; even my Piano Teacher used to define Preludes this way, a sweet rising of the sun, an Aurora... as you prefer)

No, for some reason I changed my mind... the ending must be melancholy: after all, the piece is very short (48 seconds or a little more), and it seems to be a "snapshot" of a beautiful and happy experience; we are sad that it ends, in fact the ending (even if it consists of a major chord, if I'm not mistaken A major) seems to say on its own "I will never forget you", as if time flows too fast to truly say what one feels... (I don't know if you followed me, my train of thought is a bit "free", I said what I feel too quickly!)

In fact, if I were to dedicate this piece to someone (...), I believe I would try to express my happiness for having met that person, but - in the melancholy ending, I should say with a single harmony "I will never forget you".

Or at least, this is my way of interpreting the piece (and the person to whom I dedicate it, who advised me on the melancholy ending...)

I will revisit this theme also regarding composing music (I see myself in what Paolo Ferrarelli (Pianoexpert) said in the message above.

For now, I'll say goodbye...

Bye!!! Francesco 1797

In effect, the interpretation you are giving it fits; it really seems like a sweet but at the same time sad farewell, like someone crying from happiness for the "last" greeting to a dear person, but with hope in their heart of seeing them again one day! 😕

Thank you Piano Scholar,

I am glad that my interpretation is understood and liked (that means it's not so strange after all... 😉)

Another piece I would like to talk about with you, still regarding interpretation, is the famous "Moonlight Sonata" by Beethoven. Personally, I believe it is one of the most beautiful pieces for piano ever composed... what do you all think?

I would also like to add a consideration regarding personal composition... it often happens to me that I "have a little tune in my head," which I then set to music on my electric piano (now I can't even do that anymore... at 15 years old, the other day I went to turn it on and... nothing... 😉!)

Once set to music, I realize that it is too simplified compared to how I had it in my mind... what could I do? (certainly I am not a composer, and I will never be able to do great things...)

Finally, I would like to ask you again if, when you compose, you sit at the piano and "try to invent" or if you already have a fairly established melody in mind. With this, I salute you all and thank you for your dedicated participation in this discussion (which is not closed at all 😕!).

Ciao!! Francesco 1797

Since I was a boy, I have asked myself the same questions. I believe that for every composer, there are different paths. Harmony is fundamental; this can be understood simply by taking at least a complementary harmony exam.

Then we can say that among the greats, behavior was fundamentally different. Schubert wrote a Symphony in three days, Beethoven "polished" a quartet for two years. Mozart wrote spontaneously, just as Bach already thought in polyphonic form! Crazy!!! It is almost as Michelangelo says: The statue is already inside the marble block, you just have to remove the superfluous!!"

What is called "inspiration" is nothing more than the idea that stimulates and encourages the composer to "package" the composition.... even with a certain freedom..... Let us remember that Puccini studied his contemporaries extensively, but his best music was born from ideas that were very "his own". Every composer has been inspired by their predecessors, loved them and followed them, but rarely realized they were passing into Music History.

A foundation is needed. One must know harmony and the principles that govern "forms"

I studied with Prof. Sergio Miceli, who has written books on Morricone and in particular on his Film Music. The success of this music stems from the Composer's deep preparation, perhaps less known for his great contemporary production, which might be more difficult to listen to.

In short, as someone who is not a composer, I believe being one is a great commitment, but I believe that an idea, a theme, an "engaging" passage can come to anyone's mind.... so .... onward "Toward new shores with bold daring" (M. Mussorgsky)

Paolo

Thanks Paolo,

I like hearing the musical experiences of others, especially if they have a certain level of experience like yours...

Your reasoning regarding the type of composition is very accurate and curious... there are those who write "on the fly," and those who take a bit more time...

Personally, I can say that it happens to me like this: sometimes a good little tune "comes to mind," I try it (... I was trying it... the electric piano hasn't turned on for a few days now... 😕) at the piano and I try to write it down on paper, or I memorize it in my head. Then, at another time, I pick it up again and modify it, complete it... in short, I would say that I compose in "episodes": once I have the melody to work on, I sit down and improve it bit by bit.

Thank you for sharing these memories of your past and your impressions, which can only "do good" to a less experienced pianist. Thanks!

Ciao!!! Francesco 1797

Dear friends,

here I am again. I would like to share an observation with you, particularly with those who have an electric piano but sometimes also play on a real piano (perhaps even a grand). As you know, I have an electric keyboard from fifteen years ago, which works sometimes and sometimes not (for those following this story: the other day it turned back on, it's working again).

In any case, yesterday I had the opportunity again to play on the magnificent Bechstein at school (for those interested, I invite you to the discussion about this piano in the "Piano, technical problems and their resolution" section, thank you!) and I felt much more fluid in composing than when I use my electric piano. Now, clearly, a six-octave electric keyboard cannot be compared to a great 1903 Bechstein grand, but I would like to ask: when you compose, what differences do you feel between an electric piano and a "real" piano?

I look forward to answers and observations!!!!

For now ... Bye!!!

Francesco 1797

I am not a Composer. But I believe there is no difference. The composer feels within themselves. Beethoven's deafness is proof of this.

Trying out an instrument is above all "verification". It is a long discussion and I invite some composers to enlighten us!!!!!!

pianoexpert wrote:

I am not a Composer. But I believe there is no difference. The composer feels within themselves. Beethoven's deafness is proof of this.

Trying out an instrument is above all "verification". It is a long discussion and I invite some composers to enlighten us!!!!!!

Right ... I agree with you. Let's wait for some composer to enlighten us! 😕

Yes, I also believe there is no difference. At 11 years old, I also composed a waltz for fun (a silly thing, obviously) without using the piano. If I find the manuscript, I will post it 😕

For composers, the real ones, I believe it is natural to think in musical dimensions without having a piano at hand because they already know the effect of certain harmonic solutions; then, of course, if possible, a verification is made to avoid unpleasant surprises. After all, in music history, only Mozart was able to write without errors or erasures what he had already written in his head (let's say, at first glance), something that would "horrify" Salieri... Beethoven, on the other hand, who is Beethoven, performed the "labor limae of Horace" even for 2 years. If I am not mistaken, the third symphony (the Eroica) is an example; if I remember correctly, it should have been composed by the Maestro in the period 1802 - 1804... Therefore, I think there can be second thoughts or refinements of certain parts of the composition... Obviously, one must also say that Beethoven was not born deaf, he became so later; it would be impossible to produce music if one has never known it!

TheSimon wrote:

Yes, I also believe there is no difference. At 11 years old, I also composed a waltz for fun (a silly thing, obviously) without using the piano. If I find the manuscript, I will post it 😕

For composers, the real ones, I believe it is natural to reason within the musical dimension without having a piano at hand because they already know the effect of certain harmonic solutions; then, of course, a check is made if possible, to avoid unpleasant surprises. After all, in music history, only Mozart was able to write without errors and erasures what he had already written in his head (let's say, at first glance), something that would "horrify" Salieri... Beethoven, on the other hand, who is Beethoven, performed the "labor limae of Horace" even for 2 years. If I am not mistaken, the third symphony (the Eroica) is an example; if I remember correctly, it should have been composed by the Maestro in the period 1802 - 1804... Therefore, I think there can be second thoughts or refinements of some parts of the composition... Obviously, one must also say that Beethoven was not born deaf, he became so later; it would be impossible to produce music if one has never known it!

Ok... it probably depends from person to person... sometimes I "have the little tune in my mind," but I cannot make a decent arrangement until I lay hands on a piano. If it is a real piano, maybe even a grand 😉, it's even better!!!

You know, Simone... you have "touched upon a" delicate but interesting subject: how could music be described to a person born deaf? I believe it would be like trying to describe colors to a blind person... it would be nice to delve deeper into the subject...

finally, I would really loooove to see your waltz manuscript... if you find it, could you make it available for free viewing on the site? Thank you in advance....

Thank you very much!!!

(and again, compliments: I saw the discussion "How many hours a day do you study"... it is truly beautiful to be able to exchange opinions freely among friends... I am very satisfied with having subscribed. Bye!!)

You know, Simone ... you have "touched on a" delicate but interesting subject: how could music be described to a person born deaf? I think it would be like trying to describe colors to a blind person... it would be nice to be able to delve deeper into the subject...

There are things that if you haven't touched, seen, heard, smelled, or tasted at least once, it is impossible to describe. Or rather, they can be described by making one intuit them, but not internalize them (there is a big difference between the two terms). By making them intuit, you put your interlocutor in a position to imagine something described by you through the perception of your senses, which could be different from their own perception. E.g., I may love the taste of caviar and champagne and describe it as refined, fragrant, but it is not certain that if my interlocutor regained their sense of taste and smell they would have the same opinion as me. You understand well that some things must first be "tasted" personally in order to then be appreciated and reused. This is my thought.

(and again, compliments: I saw the discussion "How many hours a day do you study" ... it is truly beautiful to be able to exchange opinions freely among friends ... I am very satisfied with having subscribed. Bye!!)

But you know, we aren't at a stadium here; what I mean by this is that usually in music, which is ART, even if one does not have the same opinions on something, there is still mutual respect because it is driven by intelligence and by the elite category, if I may use that term... Thank you for rewarding our work with your subscription... 😕

Thank you very much Simone ...

it's true: the beauty of music is that everyone is free to interpret a piece however they want ... one is truly free!! Anyway, it wasn't me who rewarded you by subscribing ... I should be thanking you!!! 😕

You know, Simone, I remember reading in one of your messages that your dream was "to create a small music family, in which ideas and opinions can be freely exchanged" ... Well, in my opinion ... you have succeeded very well. I saw that the number of subscribers is constantly growing... congratulations!!

Now I understand your dream ... 😉 and I share it... 😉 it's like growing a family all together, where everyone can have their say... W Pianoconcerto!! 😉

Ciao!!! Francesco 1797

I also thank Francesco.

And why are you thanking me too, Paolo? There was no need!! 😕

By the way... Simone told us that at 11 years old he tried to compose a little waltz "for fun" ... and you? I would be happy to hear about your experience too ... thanks!! 😉 Bye!!

what a fantastic discussion.... you make me want to compose something!!! 😕😉 .....sometimes it feels like I have so much of that music in my head that I could write an entire symphony 😉 ....but sometimes I think my abilities are not enough to write what I have in my head....is it normal?...what can I do to succeed?...any advice is welcome.......thanks everyone 😉

P.S. I would be curious to see what you were composing at 11 years old Simone...if you post the waltz I would be very pleased!