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Thoughts about passive voice

Thursday 2 August, 2012

It is time for another composition. I’ll stick with the active/passive thing, so it’s time for passive voice!

I want to start with a very small motif, and change the world around it. In active voice, the main motif was only 4 notes, but they were spread across the scale and had a lot of rhythm so it seemed more complex. To get a really simple theme I may only use 3 notes which are close together, C D E, and only crotchets and minims. The melody should stay in the same pitch, and never vary in rhythm: the melody will stand still. The accompaniment will move around making it feel like the melody is changing.

One thing I need to be more careful about this time is progression of chords; the last one had a jarring transition in the middle because I thought I was writing a simple major-minor transition but accidentally moved to a different tonic pitch (whoops).

Another thing I want to do with this is give myself enough time to polish it afterwards. Therefore there will be 2 due dates: draft due 8th August, and final due 15th August. Hopefully there will be a recording as well, but I promise nothing.

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  1. Hi Luke,
    I like very much that you are making compositions! The only way to improve is to continue! I took a look at your exercises so far; a hint that I can for sure tell you is that dynamics, tempo and expressive indications and articulations are completely absent from your scores. Unless you *consciously* asking the performer to make their own (which I don’t think you are doing), you want to put your own in. Next is, since I sense music theory and proportions are not the easiest right now, find out what Schumann, Tchaikovsky, or Chopin have done with their miniatures. We can learn a lot from the great composers… How long do their melodies take to bear out? How long do they stay in a key? How long do they take to establish a key? If they change keys, are those keys related?
    (Schumann: Träumerei)
    (Chopin: Mazurka Op. 63 No. 3)

    Best of luck! Always looking forward to new composers!

    • Thank-you for your detailed comment! Those two pieces you linked are incredible. Chopin certainly has a way with tonal gymnastics, unexpectedly changing keys and making it work. I think I’ve learned something from analysing the pieces with regard for your questions, and hopefully that shows in my next piece.

  2. trishworth permalink

    I’d like to follow your blog! Can you show me how?

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