Theoretical Sketching - Part 2 (Conception)
Introduction:
I would like to state that this series of blogs regarding theoretical sketching is merely one approach towards the compositional process. It is intended only to demonstrate the sole use of theory as a means for composing... and nothing more.
These blogs are in no way intended to replace or detract from the importance of traditional writing techniques and/or the use of an instrument in order to compose music.
Over the years I have now created approximately several hundred of these sketches and my ability to hear in my head what I am writing down has grown exponentially. I feel that this practice is a wonderful compliment to traditional study and analysis in order to enhance a composers vernacular.
Process:
My process for creating these sketches is for example to take several sketch sheets and head down to the beach with the intention of creating at least one solid piece or cue of music.
My initial priority is always to create a palette of musical tools with which I can then begin my compositional process… much akin to an artist setting up his or her easel, selecting their brushes, paints, etc… before they actually begin to paint.
Order:
I will then start to create this tool palette based on one of the three fundamental elements common to most if not all styles of music (melody, harmony or rhythm). In general I usually start with harmony since I view harmonic structures as the foundation for the musical house I intend to build.
I have decided that for this particular sketch example that I will implement other subjects and techniques from my previous blogs for the purpose of consolidating and reiterating there principles as best I can.
My chronological order for this sketching process will be as follows:
1) Create synthetic scale and derive available chord structures from it.
(http://musiccomptech.blogspot.com/2013/02/synthetic-scales-pitch-sets.html)
2) Develop potential harmonic sequences, progressions, etc…
(http://musiccomptech.blogspot.com/2013/03/mediant-modulation_14.html)
3) Establish rhythmic pattern based on two's and three's as well as skipping select beats.
(http://musiccomptech.blogspot.com/2013/03/the-twos-and-threes-of-music.html)
(http://musiccomptech.blogspot.com/2013/06/skip-beat.html)
4) Compose melodic themes and harmonic motifs, etc…
(http://musiccomptech.blogspot.com/2013/04/super-impositional-triadic-melodies.html)
(http://musiccomptech.blogspot.com/2013/05/the-fortress-of-solitude.html)
(http://musiccomptech.blogspot.com/2013/05/times-x10_21.html)
(http://musiccomptech.blogspot.com/2013/02/alternating-diads.html)
5) Establish final musical structure and content… organize in order to record.
6) Sequence, edit, mix and record audio mock-up, etc…
It has been my experience that something musical always comes from this effort and when I bring the sketch home and sequence it… I feel like I have just opened a Christmas gift... because with every sketch I discover new compositional ideas which help my vocabulary continue to grow and develop.
Please note that I will attempt to use all the subject links listed above… however, this may
not be possible since each step in some way will determine the options for the steps to follow.
Thank you for your interest in this topic and "Theoretical Sketching" - Part 3 will be posted very soon.
