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Perhaps this is not something that can be learned by reading a book, but are there any accessible books out there that teach basic principles of musical composition - kind of like an introductory level workshop? Thanks. -Elliott
The question isn't answerable. What kind of musical composition? Pop, jazz, 16th century counterpoint, showtunes, new age, etc...
As it stands, it's kind of like answering "How do I get started making art?" What kind of art? Sculpture, pottery, pastels, photography, etc...
If he can narrow the question down a bit, I'll do my best.
"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)
It's not quite the same as teaching yourself calculus, Elliott. Speaking for myself, I always experienced a very deep imperative to create music. Books and teachers helped with knowledge of how others did it and gave me a few tricks but underneath there seems to be this ineffable urge, without which the whole show would be nothing more than making pretty patterns.
Do you want to create because you must or because you like the idea of being "a composer" ? As Kreisler says, tell us more about what makes you tick and we'll try to help you.
"Do what thou wilt shall be the whole of the law" - Aleister Crowley
I think Ted is right. The books on composition that I have encountered have really given me little insight into what I want to do, and I usually put them down after a few pages.
It is just a matter of doing it. Make mistakes, find out how to correct them by asking someone who knows, or looking at another score, or even looking at an orchestration book. It is something that should come mostly naturally, or else it may be difficult to compose anything substantial down the road.
Both. I don't think I shall set the world on fire with either but I enjoy myself. Nothing ever really touches the transporting thrill of improvisation. However, there's also a desire to express something in composition. The urge to make a piece, complete in itself and notated, is a peculiar thing. I don't know why I do that. Logically it doesn't make sense. In the time it takes to write out a couple of minutes of piano music you can have an hour or more of magic improvisation. It can't be because I want my thoughts to be appreciated by others or posterity; I really don't care about that very much and never have done. It's some sort of deep satisfaction in capturing something, emotional, intellectual, what have you, in as near a perfect form as you possibly can. When you've done it and you realise you've done it, the gratification is very deep. But it is a different type of satisfaction from that obtained through improvisation.
These days, with digital pianos, computers and so on, the difference is no longer as clear cut as in the past. Still, I am a child of habit, and my many hours a week at the piano involves 90% improvisation. If some idea or other strikes me as particularly good, I return to it periodically, work it over and over, let it develop itself within the improvisations, sometimes over a very long time. My compositions usually thus emerge as crystals in the suspension of improvisation.
It isn't a serial process; many will form concurrently over time. The writing out I hate, frequently carrying finished things in my head for months. I've tried and tried to compose in the usual bar by bar, day by day fashion but I cannot. The way I do it is the only way I can do it. The method no doubt marks me as a dilettante but nevertheless I have amassed quite a heap of pieces over the years. Had I been taught conventionally I might now be able to do things in a more disciplined fashion.
"Do what thou wilt shall be the whole of the law" - Aleister Crowley
Unfortunatly, to improv in a jazz band there must be rules. I know you wern't talking about that, but improv has guidlines. I was approached by my band teacher at school asking if I would try out for the Jazz band. I thought what the heck why not. I got in obviously, and have been completly lost. I've never played jazz in my 10 years of playing. I don't know how to read chords and what not, and that was all of what the music consisted of. I am a big classical player, but i just wanted to put in my two cents worth.
Kreisler, sorry about my vagueness. As I said in the post, I wasn't sure if the question was answerable either, and expressed worries that - like Ted says - it wasn't like teaching yourself calculus.
To try to be more specific, I am interested in composing for principally - or only - the piano, and almost exclusively classical music. Furthermore, my interests are going to incline more towards romantic type music (Chopin, Rachmaninoff) than Bach/Mozart.
As to answer your question Ted, I have not been playing the piano for very long, and often compose or come up with ideas in my head that I am powerless to transfer to paper (or the piano for that matter) because I lack the developed talent at this point.
That isn't going to be fixed by a book, but I thought maybe if I learned some basic principles, I could start slowly, perhaps even change the methodology and not go from my head to piano to written but perhaps go from written to piano, or something like that. In any case, I figured learning more about the process and acquiring techniques would leave me in a better position than at present. Thanks for all of your responses, and to Linda in PA too for bumping and emailing me your helpful response!
Dear Elliot, A good starting place is to find a song you really like and start trying to figure it out. That will give you some excitement to go with the learning process. Composition is based in chord and melodic foundation which you should be able to get from a good private teacher in your area. Working with a live human who you know can compose music is your first step towards reaching your goal. Best of luck!
Also, for what it's worth... I occasionally compose music in my head, and it makes it to my hands ok, but I can't write music to save my life.
So... I use a Yamaha P80 electronic piano patched via MIDI to my computer where I run Cakewalk Music Creator software www.cakewalk.com . Cakewalk not only lets me record and edit my music, it also provides the written notation which can be edited and printed.
You can even edit the music (the written notes or the tracks) and "play" it back through the keyboard (and add other instruments).
My Keyboards: Estonia L-190, Roland RD88, Yamaha P-80, Bilhorn Telescope Organ c 1880, Antique Pump Organ, 1850 concertina, 3 other digital pianos ------------------------- My original piece on BandCamp: https://frankbaxtermrpianoworld.bandcamp.com/releases
Me banging out some tunes in the Estonia piano booth at the NAMM show...
I don't really think learning to compose benefits from a teacher as much as from personal study. I have had 2 composition teachers in college thus far, and they are great for giving me some tips on some things like instrumentation, or even direction.
None of that equals what I learned on my own, from studying scores, and listening. And by study, I don't necessarily mean only figuring out the harmony and structure, but by seeing how that composer shapes his music, his notation, phrasing, and everything else.
Haydn, as great a composer as he is, said Beethoven learned nothing from him! Of course, Beethoven was greatly influenced by Haydn's music, just look at his early symphonies and piano works. This came from his studying and listening to the music, and not Haydn himself teaching him where to put what chord.
So that is why it is like Ted says, it isn't like learning math.
).
