composing
Has anyone here composed and sold pieces of their own? Would love if you could share your experiences.
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Yes, I've composed both pop and classical pieces. But I didn't sell any of them to any publishers. One pop piece was launched together with my stage band group's CD album, which was subsequently... See More Yes, I've composed both pop and classical pieces. But I didn't sell any of them to any publishers. One pop piece was launched together with my stage band group's CD album, which was subsequently sold in the Asia-Pac market. Now planning to thread carefully the way to launch my Piano Concerto, which took me 23 years to complete. |
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Additionally: Has anyone used Soundcloud, Bandcamp, or similar websites to share and sell their composed pieces? Has anyone set up a composer portfolio? |
If you were composing piano pieces, what music notation software would you recommend - MuseScore, Finale, Sibelius, or something else?
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Ic.. I often mistake the DAW together with these! |
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Logic Pro does have notation capabilities, but it's probably bare basics. |
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https://en.wikipedia.org/wiki/Logic_Pro Officially a DAW |
Someone has recently raised the subject matter on the improvisatory nature of baroque and classical period composers. Many of them were in fact improvising AS THEY WERE composing. But they only (largely) documented ONE VERSION of their improvisation, which is the score archived till today for others to play. There are larger implications to music and music education, which many disagree with me. So far few people (e.g. Dr Leonard Tan, conductor of the Singapore National Youth Symphony... See More
Someone has recently raised the subject matter on the improvisatory nature of baroque and classical period composers. Many of them were in fact improvising AS THEY WERE composing. But they only (largely) documented ONE VERSION of their improvisation, which is the score archived till today for others to play. There are larger implications to music and music education, which many disagree with me. So far few people (e.g. Dr Leonard Tan, conductor of the Singapore National Youth Symphony Orchestra) agree with me.
The implications are: Why must we be having to have the DOGMA of having to play every single note (dictated on the documented score) to the last letter WHEN the composer himself could have used a slightly different set of notes if he had written the score using another improvised version of his work?
And it is exactly this dogma, passed through the centuries and generations, that the general conventional music fraternity is holding dearly to. Don't get me wrong - this definitely has its important purpose which we need to maintain. I'm more referring to the general player who simply wants to appreciate and enjoy playing classical music (not joining an orchestra or be a concert pianist) - why must they choose the "only" route on score-reading?
If we can embrace improvised versions of Mozart's Symphony No 40 in jazz version and Mambo version, wouldn't it be strange then, that we ask FOR THE SCORES for these versions? [That we want to rely on a precise score to play EVEN an IMPROVISED version of a work!] See the logical fallacy here?
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" .. when the composer himself could have used a slightly different set of notes if he had written the score using another improvised version of his work ... " At the end of the day, would... See More " .. when the composer himself could have used a slightly different set of notes if he had written the score using another improvised version of his work ... " At the end of the day, would the composer still choose a final version he wants the audience to hear as the definitive? For example, when you hear a recording published by the composer, would it be reasonable to conclude that, while he had tried many versions / many improvised versions of his work; he will still choose one definitive to be shown to the public? |
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Hmm, I would say it is a combination of yes and no. Someone recently mentioned the cadenza issue, which would shed some lights to it. As a classical composer myself, coupled with some of my other... See More Hmm, I would say it is a combination of yes and no. Someone recently mentioned the cadenza issue, which would shed some lights to it. As a classical composer myself, coupled with some of my other classical composer friends, though there is a "final version" of our works which we would set on it (and document it), we feel we are quite fine if some of the "less important notes" (e.g. the way to produce or sound out the chords at certain junctures) are changed slightly, since it won't affect its overall musicality. But once they change things that are more pivotal (such as our counter melodies), then it is a strict no-no. But having said that, there are other composers who would want 100% conformance of playing w.r.t. to what they have written precisely. |
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"... though there is a final version of our works ... quite fine if some of the less important notes are changed slightly ..." Since there still has to be a final version delivered to the... See More "... though there is a final version of our works ... quite fine if some of the less important notes are changed slightly ..." Since there still has to be a final version delivered to the public, it would best represent what the composer truly wants. Otherwise, if he has felt that a slight change in some of the notes would suit better, he would have chosen that as the definitive piece. Thus, the published piece contains the intricate musical qualities, and emotions, among other collaterals; that the composer wants the world to hear and feel it. He might hope that this song would be played in its entirety to preserve his intentions. If he has wanted other variations, he might publish his works in variations. For example, Mozart's Twelve Variations on "Ah vous dirai-je, Maman". What the future generations would perform, is something the composer cannot predict. Musicians now can perform it in its truest form, or improvised form, and whether it can be accepted depends largely on the current state of musical taste among the population. |
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At the end of the day, would it boil down to who decides which is part of the composer's authoritative / canonical works, and which is not ? The publisher of the works, the patron, a panel, the... See More At the end of the day, would it boil down to who decides which is part of the composer's authoritative / canonical works, and which is not ? The publisher of the works, the patron, a panel, the composer himself ? Is it a matter of power ? |
At my recent talk on composing and arranging at Anglican High, I highlighted to the O-Level music students on the importance to deepen one's understanding of music theory in order to be a superior music arranger. Then one of the them asked me this question, "Would ABRSM Grade 8 theory suffice?"
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Haha! |
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Best part is: America doesn't seem to have the ABRSM/Trinity equivalent kind of graded exams for music. Correct me if I'm wrong? |
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What topics in music theory are important then, to be a superior music arranger? |
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Almost all topics are important; though the more apparent ones are Parts of Music/Textures/Layers, chord identity and chord structures, types of bass playing, principles of counter melodies... See More Almost all topics are important; though the more apparent ones are Parts of Music/Textures/Layers, chord identity and chord structures, types of bass playing, principles of counter melodies formations, sub-harmonies and super-harmonies, types of modulations, types of rhythms, syncopation, etc. |
Is there a formula used by the many successful composers? You know, maybe writing the melody first is *easier*?
If you are talking about composer and lyricist being two different persons, then we have cases for both. However, by default, it is usually the composer penning the melody first, then the lyricist... See More
If you are talking about composer and lyricist being two different persons, then we have cases for both. However, by default, it is usually the composer penning the melody first, then the lyricist filling in the lyrics later.
As Zensen said, "by default" the music comes first followed by lyrics. In the next Pianovers (#75 on 22nd Apr), I will be playing an exception, a song where the lyrics came first.
"When... See More
As Zensen said, "by default" the music comes first followed by lyrics. In the next Pianovers (#75 on 22nd Apr), I will be playing an exception, a song where the lyrics came first.
"When October Goes" had music composed by Barry Manilow only after the lyricist's widow sent Manilow the lyrics. Manilow set a lovely melancholy tune to what Johnny Mercer wrote (Mercer had died of a brain tumour diagnosed just months before) and the completed song was released as a single by Manilow (and it was quite a success).
Listen it on Youtube here: https://www.youtube.com/watch?v=Reiqwbo4b7Q or come to Pianovers #75 to listen!
In the case of "When October Goes":
"Setting the Mercer lyrics to music, Mr. Manilow discovered, was one of the easier tasks of his career. "The tunes came like that", he said snapping his... See More
In the case of "When October Goes":
"Setting the Mercer lyrics to music, Mr. Manilow discovered, was one of the easier tasks of his career. "The tunes came like that", he said snapping his fingers. "I struggle with the pop stuff till I bleed, but this stuff... like that." [Article ref link]
So, it could be easier to compose music around the lyrics after all. Maybe, you only need to connect with the lyrics, be inspired by them, and voilà!