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The Woof and Warp

In composing a theme on the keyboard, a composer may overlook certain characteristics of a piece that disclose the nature of the instrument it was intended for or composed, leaving a passage transparently unnatural to the ear.

If a song, (tune), supposedly composed for flute does not, for example, allow for the physical need of the performer to actually breath... or if the duration of a note should obviously overlap the next note, it would sound quite unnatural. A flutist cannot play two notes at the same time. A theme composed with chords is more likely to have been done using a piano voice, a guitar voice or something other than a trumpet or flute etc.

sometimes after composing in a particular voice, the theme can be tried in various voices of the synthesizer and can reveal interesting new parts. Should a trumpet part seem to require 12 mouths on spare heads, there is something wrong with the part or the voice being used for that theme.

Another factor is "Range".  A trumpet for example has a range normally from G below middle C, to a high note usually regarded as around G below high C - though legendary trumpeters such as the venerable Louis Armstrong might have something to say about that.... Now if you were hearing a song played on trumpet that had notes down near low C, or notes going three octaves above middle C, then either the lips of the trumpeter would be putty blobs or glass reeds... or, from the point of view of "serious music", the part is being played on a synthesizer by a poor composer.

Of course in art, anything should be possible, and if a "fantasy" effect is successfully obtained by producing an "impossible sound" as is easily done on some synthesizers or "mocking-bird" instruments, then I for one would seek to experience the novel creation.

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Being aware of ones own breathing while composing a flute part would have to be second nature. A note held too long might require the lungs of 10 bag-pipe players... It's a bit like watching divers swimming deep under water on the cinematic screen. Suddenly you notice yourself holding your breath, wondering if the diver is ever going to go up for air. How could one not lose interest in a scene where half a theatre audience is passing out around one from holding their breath through the action.

A violin is something else again. The actual 'flow shape' of a note or sequence of notes changes with a fattening-ness or a thinning-ness. Even the speed of the sound seems to ebb and flow with volume levels in a passage, and the sharpness or bluntness heard in the voice is as important as the smoothness softness or hardness etc. etc. etc.

Had Beethoven, Bach or Handel had a good quality electronic sequencer at their finger tips back when, who knows what creations could have appeared when one considers what they achieved with the instruments that were available to them at the time. The mind boggles at the thought.

Music for Your Personal Universe - Continued......

Love is a birdy

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