#1962694 - 06/25/08 12:05 PM
Brahms' Rules of Composition, for your consideration
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suraci
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MUSICAL COMPOSITION
1. When you study music, the most important thing to learn is Strict Counterpoint.
2. Writing variations is something good for the beginner.
3. Usually the best ideas flow from the hand or mind without any particular effort, these are the ideas that will endure in your compositions.
4. Never begin working the out of a composition before the whole thing has taken definite form as an outline either on paper or in your head. When ideas come to you, go for a walk, then you will discover that the thing you thought was a complete thought, was actually only the beginning of one.
5. In the sonata form, the piece must have a logical structure. It is not enough to have a good idea here and there. The sonata is not when one has merely combined several ideas through the outward form of the sonata, but that, on the contrary, the sonata form must emerge of necessity from the idea.
6. When you are composing a piece, your bass should be vibrant, not sleepy or lazy. Your harmonies should sing and not be weak.
7. Harmony should not only be the accompaniment of the piece, but help and allow the idea to develop, so to speak, to help it emerge clearly and powerfully.
8. In regular composition, and song writing, the determining role of the melody and of clearly perceived basses created in good counterpoint should be a must.
9. When you examine a piece, read only the vocal line separately and or the bass separately, so this way you can see if your melody is dreary or your bass boring. The determining role of the melody and of clearly perceived basses created in good counterpoint should be a requirement. The accompaniment should be a equal, even independent, element and sometimes to move it canonically in relation to the voice. The canonic form never develops into the controlling element, but only as a means of increasing the charm of the vocal melody. And the melody will always break the form when its powerful and sublime flow so dictates.
10. Combining variety (diversity) with unity can be difficult. It is accomplished by transforming the basic motive more or less recognizably through rhythmic alterations; through displacement into other chordal inversions, and through exact or retrograde inversions, thereby you create themes and melodies of the most extreme contrast.
11. Extension of the subsidiary motives can be done by means of augmentation.
12. To compose a long adagio is the most difficult of all.
13. Unified modulation does not in any way preclude the use of even the most distant keys. Quite the contrary these keys become distant only by virtue of the fact that another key governs; this is what gives them their expressive power. They say something different; they are like the colors of a painting that contrast with the background color and are simultaneously contained and intensified by it.
14. To learn modulation imitate the masters. If Beethoven, Mozart or Haydn go from C Major to E Major, you do the same. In regard to the overall course of the modulation, with the exception of the individual divergences, the guiding principle is "The straight path is the best path".
15. You must learn how to work. You must write a lot, day after day, and not think that what you are writing always has to be something significant. As far as songs go, you will write many songs before a usable one emerges.
16. It is rare that a piece, once it has been completed, becomes better through revision; usually it gets worse.
17. You should not always trust your ideas. The pen is not only for writing, but also for deleting. But be very cautious. Once something has been written down it is hard to get rid of. But if you have come to the conclusion that it will not do; even if it's good in itself- then don't think about it for long; simply strike it out! How often one attempts to save such a passage and thus ruins the entire thing, not to mention becoming a slave to the idea instead of being the master. Sometimes passages like this also serve to conceal the troublemaking elements whose presence you might have intuited but would have not looked for it there at all. Corrections usually should have to do with particular details of the composition.
18. Clearly imitation is the best way to understand how music is written and structured. A beginning composer should follow the methods of composition which are set by the masters like Brahms, Beethoven, Mozart, Haydn, etc,. This way you can understand the structure and apply this to your own work. Every composer takes ideas from other composers, its not that your going to use that idea note for note in your piece. On the contrary, it's the way you manipulate or change the idea and develop it, which reveals the genius in a composer and his composition. When you compose, it is good for a beginner to copy or follow a particular structure of a piece or a style of a composer; this way you can discover how a composition is created or constructed and apply this to your own ideas. By doing this you will eventually break out of that mold and with a clear understanding develop your own style of composition or a ingenious variation of an older one with unprecedented new insight.
Wow- now THAT'S really old school !!
Ideas like this, give me a better grasp of why the past "masters" were the embodiment of "mastery".
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#1962722 - 06/25/08 01:04 PM
Re: Brahms' Rules of Composition, for your consideration
[Re: suraci]
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suraci
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And from the same outmoded old fashioned guy
I have never read these before- my intuition just knew ( edit: SOME OF ) these things- I am amazed at the similarity of our thoughts on music composition, God as part of the preocess and so on. I do NOT listen to Brahms, maybe I had better!!
Now, if the net can be trusted, Brahms on:
INSPIRATION AND CREATIVITY
All truly inspired ideas come from God, and the consciousness of being inspired by him. Your religiosity will make you more conscious and aware of that fact, and of the fact that God is nearer to you than others in your craft, and that you can consort with him without fear.
The contact of inspiration though God cannot be done merely by will power working through the conscious mind, which is an evolutionary product of the physical realm and perishes with the body. It can only be accomplished by the soul-powers within - the real ego that survives bodily death. Those powers are quiescent to the conscious mind unless illumined by Spirit.
To realize that we are one with the Creator, as Beethoven did, is a wonderful and awe-inspiring experience. Very few human beings ever come into that realization and that is why there are so few great composers or creative geniuses in any line of human endeavor. All this should always be contemplated before commencing to compose. This is the first step.
When the urge to compose is present, appeal directly to the Maker and ask Him three most important questions pertaining to our life here in this world - whence, wherefore, whither [woher, warum, wohin]? This appeal will immediately manifest feelings of vibrations that will thrill your whole being. These are the Spirit illuminating the soul-power within, and in this exalted state, you can clearly see what is obscure in your ordinary moods; then you feel capable of drawing inspiration from above, as Beethoven did. These vibrations assume the forms of distinct mental images, after you have formulated your desire and resolve in regard to what you want - namely, to be inspired so that you can compose something that will uplift and benefit humanity - something of permanent value. Straightaway the ideas will flow upon you, directly from God, and not only should you see distinct themes in you mind's eye, but they also will be clothed in the right forms, harmonies and orchestration. Only with divine inspiration will finished product be revealed to you, measure by measure.
Most of the time you have to be or will be in a semi-trance condition to get such results - a condition when the conscious mind is in temporary abeyance and the subconscious mind, which is part of Omnipotence, that the inspiration comes; and to be careful, however, not to lose consciousness, otherwise the ideas will fade away. That is the way Mozart composed, and when asked what the process was with him while composing, he replied: "The process with me is like a vivid dream". He then went on and described how ideas, clothed in the proper musical setting, streamed down upon him. God and His Omnipotence, His awe-inspiring grandeur, His glory, and above all his closeness to you are things that should be pondered on just before commencing to compose. It is most stimulating and inspiring process to think along those lines before entering that trance-like state in which inspirations come.
The dream-like state is like entering a trance-like condition - hovering between being asleep and awake; you are still conscious but right on the border of losing consciousness, and it is at such moments that inspired ideas come. Then it is of the utmost importance to put the ideas down on paper immediately. Then they are fixed and cannot escape; and when you look as them again, they conjure up that same mood that gave them birth. This is a very important law. Themes that occur this way usually are the ones that will endure.
Spirit is the light of the soul. Spirit is universal. Spirit is the creative energy of the Cosmos. The soul of man is not conscious of it's powers until it is enlightened by Spirit. Therefore, to evolve and grow, man must learn how to use and develop his own soul forces. All great creative geniuses do this, although some of them do not seem to be as conscious of the process as others. Beethoven was aware of the fact that he was inspired and he left records to that effect.
All true inspiration emanates from God, and can reveal Himself through that spark of divinity within - through that psychologists call the subconscious mind. Any composer capable of entering into that state can create immortal works, only in believing in which no less an authority than Jesus, Himself, says, in John 14:10 "The Father that dwelleth in Me,
He doeth the works, and in the 12th Verse of the same chapter, He adds, "He that believeth Me, the works that I do shall he do also, and greater works than these shall he do". All these things mentioned here have a direct bearing on the mental, psychic and spiritual processes when attempting to compose. The powers from which all truly great composers like Mozart, Schubert, Bach and Beethoven drew their inspirations is the same powers that enabled Jesus to perform His miracles. We call it God, Omnipotence, Divinity, the Creator, etc. It is a power of All that created our earth and the whole universe, and Jesus taught us that we can appropriate it for our own upbuilding right here and now and also earn Eternal Life. Jesus is very explicit in Matthew 7:7, saying, "Ask and it shall be given you, seek and ye shall find; knock and it shall be opened unto you". There would not be so much good music paper wasted in fruitless attempts to compose if those great precepts were better understood. That is why atheists works are utterly lacking in inspiration. Their works are purely cerebral. The great Nazarene knew that law also, and He proclaimed it in John 15:4, "The branch cannot bear fruit of itself, except it abide in the vine." No atheist has ever been or will be a great composer. Jesus taught us that there is true supreme hope for all. He came not as the great exception, but as the great example for us to emulate. Adherence to can create nothing but divine values and an alliance with the Creator, that is capable of a life on earth full of inspiration and masterpieces of music to accompany that life for others to witness. This is the secret of inspiration; which is the ability to synchronize the conscious and subconscious minds, just as Jesus did, but on a much higher level.
Inspiration is of such importance in composing, but by no means all that there is to it. Structure is just as consequential, for without craftsmanship, inspiration is a 'mere reed shaken in the wind' or 'sounding brass or tinkling cymbals'. Great compositions are not the fruits of inspiration alone, but of severe, laborious and painstaking toil. No composition will live long unless it has both inspiration and craftsmanship, which Beethoven had to a superlative degree. There also must be in relation, with inspiration and craftsmanship, a natural aptitude, where ideas come to you with more or less no conscious effort, with a sense of comfort and relative ease, like a aspiration being fulfilled. But parallel to that, as seen in Beethoven's sketchbooks, comes the proof that he toiled incessantly in order to leave us such masterpieces. Only with your religiosity, God's inspiration, and the utilization of all three, can one achieve mastery of classical music composition and achieve true fame and immortality, which is what oblivion constantly tries to challenge. This is the proven universal formula for success in music and any and all other endeavors of human life.
Another aspect of this art which is extremely vital and demands great emphasis, is privacy. It should be unthinkable of attempting to compose unless you are sure you will not be interrupted or disturbed. The Muse is a very jealous entity, and she will fly away on the slightest provocation.
A composer who wishes to write worth-while music must devote his whole time and energy to that one occupation.
A composer in order to study, learn and absorb all that the masters have to offer, and put to use that knowledge in his own works, must have the capacity to judge objectively an individuality that differs from his own.
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#1962778 - 06/25/08 03:02 PM
Re: Brahms' Rules of Composition, for your consideration
[Re: suraci]
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d
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What is the source for these ruminations ?
Some of those ideas seem in coontradiction. (Compare # 1, 3 & 4.
Indeed, #3 with any of the rest). There's not a complete contradiction but a certain antipathy.
BTW, did Brahms write any exciting music ?
Edited by d (06/25/08 03:02 PM)
Edit Reason: puncuation
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#1962782 - 06/25/08 03:11 PM
Re: Brahms' Rules of Composition, for your consideration
[Re: d]
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SK
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Hmm, depends on what is "exciting" to you. It must have exciting in his day, or at least interesting - people have been playing his music for centuries. Not everyone can claim that.
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#1962785 - 06/25/08 03:26 PM
Re: Brahms' Rules of Composition, for your consideration
[Re: d]
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suraci
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What is the source for these ruminations ?
Some of those ideas seem in coontradiction. (Compare # 1, 3 & 4.
Indeed, #3 with any of the rest). There's not a complete contradiction but a certain antipathy.
BTW, did Brahms write any exciting music ?
#3- the one about- 'ideas flowing without any particular effort.
These will endure.'
This one (#3) makes some of my points that i have tried to make in other threads.
"Effort" means self consciousness, effort means self. He believes the best music comes from God, not self.
In those unenlightened times, they believed in God without shame or qualification.
#3 is very clear to me.
I mentioned how Wagner mentions how he heard Tristan Isolde, all at once- so to speak, without "effort". The effort comes AFTER the initial inspiration.
Ya see, Brahms and his fellow composer were not fortunate enough to have computer generated music, like you do, Mr genius.
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#1962814 - 06/25/08 04:35 PM
Re: Brahms' Rules of Composition, for your consideration
[Re: d]
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suraci
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Signature? Einstein and Michael Corleone- actually there is a bit of ironical truth there, yikes!!
Defining with words ain't my thing- but I enjoy trying, just like many musicians enjoy trying to make music- as well they should!
My "Source" for Brahms???? Why I thought we all know where we get stuff, the highly trusted internet , of course!!
I've seen something about Brahms once before in a spiritual type book ages ago.
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#1963484 - 06/27/08 05:14 AM
Re: Brahms' Rules of Composition, for your consideration
[Re: SK]
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suraci
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Hmm, depends on what is "exciting" to you. It must have exciting in his day, or at least interesting - people have been playing his music for centuries. Not everyone can claim that.
Is excitement the criteria now? Is that the descriptive word, the goal?
One of my "big personal truism's" is this.
It takes a kind of evolvement to truly appreciate different musics
Put more simply
There is some music by respected artists who I do not appreciate. Pat Metheny was my most recent change of heart- i vehemently disliked his sound and playing.
I had a glacial movement with him about a year or two ago- like night and day, one day I disliked and one day a light turned on.
I respectfully submit the same is for us all.
Be open to the possibility that many here do not get Ellington, Mozart, etc.
Just consider it. We don't know what we don't know. Sounds redundant, but it is a truth worthy of repeating, because it relates to awareness, or lack thereof.
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#1963604 - 06/27/08 09:52 AM
Re: Brahms' Rules of Composition, for your consideration
[Re: suraci]
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d
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Excirement is but one of many criteria...& one not to be casually dismissed.
Brahms was a good composer & orchestrator but what I've heard of his music seems rather mild, more relaxing than stirring.
FWIW, many who you may not recognize can fully appreciate what you do.
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#1963635 - 06/27/08 10:52 AM
Re: Brahms' Rules of Composition, for your consideration
[Re: d]
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suraci
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Slightly OT Many moons ago, a guitarist friend of mine, who graced many an album in pop and jazz, told me there is a big difference between ( a player being ) " excited, and exciting ".
I haven't thought of that till now!!
Totally altogether OT, when I quickly glanced at my monitor, I saw what looked like excrement not excitement on your note just above mine! lol
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#1963664 - 06/27/08 12:07 PM
Re: Brahms' Rules of Composition, for your consideration
[Re: suraci]
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d
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Just another example of how we can misread one another.
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