| 4. The pros and cons of development | |
|---|---|
| (pro) Do not abandon your babies! •Think of your musical ideas as your children (or, if that is too mind-boggling, your pets!). It is your job to help them grow and develop; be a responsible parent/custodian/pet-owner! | (con) Don't let ideas overstay their welcome! •Not all musical ideas need to be developed to their maximum potential. There needs to be a balance between the familiar and unfamiliar. (See below for more on this:) |
| •Growth is of fundamental importance to the European classical music tradition. It is essential to extend, develop, or otherwise 'grow' your musical ideas during the course of a composition. | •Is growth of equal importance to other musical traditions? Could a person write a good, extended composition that totally disregards the growth principle? |
| •How to grow: After you have identified musical ideas you have created (label them idea 1, idea 2, (2.1, 2.2 for variants) etc.), try to extend them. There are many, many ways to do this (see next entry), but the starting point is to want your ideas to grow. Yes, just like the 'How many psychiatrists does it take to change a lightbulb?' joke…* | •(i) Composers all limit the growth of any idea, probably because to do otherwise would make compositions sound like academic exercises. (ii) Consider Eine Kleine Nachtmusik. Is it a model of economy of means? If not, is it 'bad'? What about M's Pno. Cto. #21? |
*Only one, but the lightbulb has to want to change.
| 5. How to Extend or Develop Musical Materials; Specific Suggestions (may be used in combination with one another) | ||
|---|---|---|
| Repeat… | Vary… | Extend… |
| •… with different dynamic | •… selected motives (i.e., a, or b, or c, etc.) | • … a + b +b' (or a+b+a', etc.) |
| •… in a different register | •… truncate | • … continue with similar intervals, i.e., la-do-ti-fa, la-do-ti-fa-mi-so, la-do-ti-fa-mi-so-di-re, etc. |
| •… with different orchestration | •… invert, retrograde, retrograde inversion | • … reorder same pitches, i.e., la-do-ti-fa, do-ti-la-fa, la-ti-fa-do, etc. |
| •… with different harmony | •… insert/subtract rests | • … combine previous two, i.e., la-do-ti-fa, la-ti-fa-mi, so-fi-la-si-ti-la-fa-mi, etc. |
| •… in a different mode | •… reorder, interpolate (insert), substitute | • … using similar or different rhythms. |
| •… with different counterpoint | •… make nonretrogradable | • … make sequence |
| •… with different texture (i.e., pointillism, thicker, thinner, etc.) | •… rhythm | • …turn into a transition (how? Discuss…) |
| •… with different accompaniment figure | •… shift rhythmic emphasis, rotate | • … add dissimilar materials |
| •… in a different tempo | •… augmentation or diminution of all or any portion | • … gradually change character. |
| •… in a different meter | •… mode | • … create a dialogue |
| •… in a different key/transposition | •… articulation | • … reverse roles (melody/accompaniment) |
| •… with overlap | •… selected intervals | • … continue linear contour |
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