Started by greg, August 30, 2007, 11:11:10 AM
0 Members and 1 Guest are viewing this topic.
Quote from: greg on August 30, 2007, 11:11:10 AMit's for string orchestra,
Quote from: D Minor on August 30, 2007, 11:12:40 AMWhy not add a little oboe and french horn?
Quote from: greg on August 30, 2007, 11:29:23 AMthat would be a strange combination over a string orchestra
Quote from: Mark G. Simon on August 30, 2007, 12:24:45 PMSomehow, the title of this thread led me to believe it would be a discussion of a certain Schoenberg piano piece.
Quote from: Cato on September 03, 2007, 05:12:50 AMDude!!! That was precisely why I clicked on it!!! Were we both instinctively thinking of the Three Piano Pieces because of the "Opus 11" title?
Quote from: Mark G. Simon on September 03, 2007, 05:53:52 AMHindemith's op. 11 has that cool solo viola sonata with quarter = 600 tempo marking. Always fun to talk about.
Quote from: greg on September 03, 2007, 08:37:25 AMthe third is, i'm going to make sure this one is really good. I've had to go back and erase and change a lot, so i haven't made much progress. It might take awhile, while after lots of erasing and working with an idea and then realizing it's not really that great and i can do better, it turns out that my next one is usually better
Quote from: Mark G. Simon on September 03, 2007, 09:32:03 AMCage reported that Schoenberg once pointed to the eraser end of a pencil and said "this end is more important than the other".
Quote from: greg on September 04, 2007, 05:51:02 AMlol! i'll remember that quote, Schoenberg was a smart man.yesterday, i just used it to erase every single bar except the first. Sure, you can come up with something that sounds good at one moment, but when you play it again, it just doesn't make sense. I wrote 9 bars where the violins start it out and here's how it goes when i play through:bar 1- finebar 2- doesn't make sense to write this at this moment, although it sounded good at firstbar 3- (a single note) totally banal-soundingbar 4 to 7- the octave leap is actually nice, but then it goes into notes that are just questionablebar 8 to 9- i would like it if it were in a completely different context, it resolves in E major and the resolution itself doesn't feel like it makes any sensei know for sure that it's because while writing this opening line i've come to stops and then tried to figure out what to do next- that's the whole problem, the best stuff, or at least the majority of what you write just comes to you, and you try to transcribe what you hear. Probably the best time of all to compose would be in the middle of the night, waking up at maybe 3, when you can't think straight and your consciousness is really impaired. The best, clearest dreams are usually at 4, i really wonder if there is some sort of relation?...... (in fact, when i was reading about lucid dreaming, you had to wake up at around 4, stay up a little bit and go back to sleep).i could go on, i just remember a few things, but nah, i'll be rambling like an old man...
Quote from: Cato on September 04, 2007, 09:46:55 AMI should send you off to read Thomas Mann's Doctor Faustus, wherein the devil (a possibly syphilitic hallucination) tells the crypto-Schoenbergian composer Adrian Leverkuehn that composing has become "devilishly hard" these days, that right when you think have something decently original, you conclude that it sounds too much like Rimsky-Korsakov, or somebody else, and you begin to despair of ever forging anything new and worthwhile.Despair is the devil's key to your soul! Which is why all real Americans are always optimistic! 0:)
QuoteAcknowledgement to Arnold SchönbergIn the novel (Chapter XXII) Leverkühn develops the twelve-tone technique or row system, which was actually invented by Arnold Schoenberg. Schönberg lived near Mann in Los Angeles as the novel was being written. He was very annoyed by this appropriation (without consent)), and later editions of the novel included an Author's Note at the end acknowledging that the technique was Schönberg's intellectual property, and that passages of the book dealing with musical theory are indebted in many details to Schönberg's Harmonielehre.
Quote from: D Minor on September 04, 2007, 12:22:20 PMGreg, don't you have your own gazebo for posting your compositions? Where is it?
Page created in 0.041 seconds with 22 queries.