In article <slrnd9c3tt.rau.slvrmn@[EMAIL PROTECTED]
>,
Albert Silverman <slvrmn@[EMAIL PROTECTED]
> wrote:
>On 2005-05-26, Fiona <fiona@[EMAIL PROTECTED]
> wrote:
>>
>> "Albert Silverman" <slvrmn@[EMAIL PROTECTED]
> wrote
>>
>>> CHORD CONSTRUCTION PROCEDURE
>>
>> Why do you need a procedure to write music? Doesn't following a
procedure
>> create "formula" music?
>
>This article is *not* a procedure for writing music!! I agree with you
>that using a procedure to write music is futile and meaningless.
>
>> Inspiration of a piece of music can start from any
>> point, a chord, a melodic motif, a rhythm, a lyric, a "sound effect"
(and
>> those are just the musical starting points) and it behooves a
composer/song
>> writer to have all the best tools to grow the idea to fruition.
Sometimes an
>> idea is best grown with classical harmony, other ideas might best be
grown
>> jazz chord sequences, or a combination of both, but a composer who
>> disregards classical theory in favour of chord sequences
>
>Who said anything about "disregarding" classical theory?
>
>Certainly *I* did not. You must be talking about someone else.
>
>Chord-based music uses the chord as the unit of musical organization.
>Hence it behooves anyone who wishes to compose such music in a *credible*
>manner understand the nature of this organizational unit.
>
>This is analogous to one writing a book understanding basic English
>grammar. Yes, you can argue that music is composed every day without the
>composer understanding the basic musical "grammar."
>
>Would you say that learning and understanding the nature of English
>grammar is the same as using a "formula" for writing a book?
>
>I wouldn't.
>
>
>
>Albert Silverman
>(Al is in Wonderland!)
>where relevance is irrelevant
>
>> is like a carpenter
>> who says "I'm not going to use saws, only hammers." You don't have to
use
>> all the tools in your tool kit, but if you only have one tool, you're
going
>> to make a very nice chair.
>>
>Go back and read what I said above about chords and musical organization.
>The universal problem is that, outside the backrooms where musical
>composition is *really* taught, composers universally do not have any
>concept of what is meant by "musical organization."
>
>Wouldn't it be very desirable if they *did*?
>
>>
>>
>>
>> Fiona
>>
>>
--
Matthew H. Fields http://personal.www.umich.edu/~fields
Music: Splendor in Sound
To be great, do better and better. Don't wait for talent: no such thing.
Brights have a naturalistic world-view. http://www.the-brights.net/
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