Blog Post #2 - The "secret language" of composition

#1. Terms relating to composition:

- Form refers to the overall structure of a piece.  Generally, a piece's form is driven by its sense of direction (be it harmonic, melodic, textural, or emotional).  In beginning theory classes we often talk about simpler forms, like rounded binary (ABA') etc, but forms can vary highly.  If there is an emotional climax, it can be in different points in the piece (like the middle or even the ending).  Some pieces (common among soundscapes) do not necessarily have a climax and instead focus on creating an overall sonic world to exist in.  Form is essential to expressing the main point behind a piece clearly.

- Texture describes layers in the piece.  It can refer to the activity level of a single layer or the relation between individual layers.  Certain pieces may have sparse textures, perhaps by having few layers (e.g. by instrumentation) or with each line having more space or static notes.  Other pieces may have thicker textures due to having more lines going on simultaneously or having more complex rhythms in each line that create a denser texture when overlapped.

- Counterpoint refers to the interaction of different lines played simultaneously.  In everyday life, counterpoint occurs when two people talk over each other at the same time.  In theory classes, we often think about rules of counterpoint, like voice leading or using contrary motion.  Modern composition goes beyond that, though, and follows a general rule: when multiple lines are going on at the same time, it's important to make space for the other lines (e.g. by altering the rhythms in each line, dynamic variation, etc.) so that not every line is competing for the listeners' attention.  This is essential in any kind of piece with some layers in the foreground and others in the background because it provides greater clarity to the listener so that they can more easily hear each line rather than a cacophony of sound.


#2. I think the biggest misconception of composers is that they only focus on craft rather than emotional content of their music.  Composers may learn about harmony and counterpoint to help give them the tools to create a clearer product, but the overall goal among most composers is still the emotions expressed during the piece.  (Composers are all quite different - I use the word "most" because there are still some composers who prefer to think of their music in an absolute sense rather than a more narrative or emotional one.)  In the past, many composers employed serial or other kinds of process techniques to generate pitch material, which may have reinforced this stereotype.  While there are still a few composers who continue to pursue these techniques, many composers focus more on the final sound rather than the process behind them, and many composers prioritize emotional clarity over music complexity.

I'll include another note about performing flute just because I perform too!  A big misconception about flutes is that they can only be used to sound serene or to play long legato lines... or to sound like birds.  Flutes can be quite percussive and shrill, especially in their high register.  There are also many extended techniques on flute that produce a variety of sounds, including key clicks, tongue pizzicato, and jet whistles.  They are quite versatile in terms of technique, so they can be used for anything you can imagine.