Do not suppress your inspiration. There will be plenty of time in the future to say whether or not an idea is worth pursuing. For now, just go with it. I am a film composer, and lover of music theory. I have spent many years figuring out the tools and techniques that actually work for composers, and now I want to teach them to you.
I have always wondered whether inspiration is actually a pseudonym for life experience. Ive noticed that after accomplishing something new in life it becomes x easier to generate ideas. Another interesting aspect of this is that the music generated is ALWAYS a kernel of what is to come, always coming in its most basic form.
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I was studying how inspiration in general comes not only for composing but for everything in life. By inspiration one can compose, paint, write, say or do something. I agree with you that a deep, reflexive thinking and an appreciation for the nature makes us closer to the source of inspiration. Hayes commented. Thank you so much for your words in this website.
I love your article. This is very generous and much appreciated, Jon. Thank you!
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Great and insightful article. Made me stop and think. Appreciated your insights. Thank you Also the encouragement to do something with what we have completed Thank you!! A 19th century German philosopher, Schopenhauer, also wondered about this. When I write a poem I often feel like the poem wrote itself.
These days any idea I get is instantly kicked into touch by my conscious mind judging it to be nothing new, or of no value. One other thing, when I compose music I very much enjoy the process of composing and arranging. Not to make a career from it, or even to show it to people, but just as an aid to enjoying the time I spend doing it and maybe even getting better at it. Great read! Composing as a profession however will demand a fit-for-purpose approach. Perhaps there is already a known term in use? I am not familiar with a general term that points to the purpose of the music.
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I think it is wrapped up in the specific terms — program music, chamber music, film score, ballet, symphony, etc. Good idea though. So many melodies and chords and ideas flew around my ears all the time.
That is why I decided to be a composer and I pursued composition degree in college. After graduation, as I have my own inspiration and desire to write about, I feel like those fairies that used to flew around my ears are all gone now. And I am losing self-confidence more and more everyday and also desires to write music… This has been over an year now.
I was so happy back then to write music. Now I am almost depressed when I try to write music. I would appreciate your thoughts on my status.. First, try to connect with the thing that really gets you excited about composing. For many people, me included, it is getting your music actually performed by other people, for other people to listen to. This means that you are not just composing in notation software for yourself to listen to. Instead, you are actually putting yourself out in the world. This can be scary, but also very exciting and rewarding. Second, my guess is that the music you had inside you is still there, but you have other issues with not letting go of inhibition while composing.
Part of this could be the mood you are approaching with — you already feel like you are not going to feel the right ideas. Part of it could be not understanding the theoretical concepts to the point of not having to actively think about them while composing.
My guess is you know the theory on a conceptual level, but not on an automatic level. Like anything worth doing, it is always hard work, but if you truly want it, it is also satisfying work. Third, I would work on transcribing some music you like, which will improve your ability to transcribe what you hear in your head, understand it, and write it down. Jon, this article was excellent and heartfelt. I find myself doing some of the same methods you list. Also being able to hear it played back in different keys and tempos sometimes opens up new avenues of thought.
The great composers were just that — great at composing. But when it came to affairs of the heart they made their fair share of blundering errors. So, to help you avoid the same mistakes Mozart et al made, here are the lessons we've learned from the love-lives of the great classical composers. Beethoven wrote an impassioned letter to his "immortal beloved" but presumably never sent it — the letter was found with his papers after he died. No one has ever discovered for sure who he meant to send it to. Clara was married to the composer Robert Schumann but she fell in love with his friend and fello composer Johannes Brahms.
There is much debate about whether the pair ever acted on their feelings. Mozart began tutoring for the Weber family when he was 21 and fell in love with the second eldest of the family's four daughters, Aloysia.
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He eventually married Aloysia's younger sister, Constanze. Johann Sebastian Bach had 20 children — though only ten survived to adulthood.
Many of them, including C. E Bach, became respected musicians in their own right. Classical music reminds us of the beauty of life, if one will sit down and truly listen. The Masters were not called The Masters for nothing - they worked from the depths of their souls and brought forth amazing music because they loved it, not just because they wanted fame and fortune. It is my honor to be able to bring my love of the classics to my students, and it is my hope that they will one day leave my studio with a deeper appreciation of those Classical Masters.
I love classical music! And I love to teach classical music!
But a few years ago I started noticing that some students were beginning to become bored with some of the music that I was teaching them. That's when I realized that classical music might not be for everyone. My students' parents pay me to teach their kids music; how could they learn music if they didn't like what they were learning? That's when I decided to start teaching improv. Improvisation is when a student learns music by ear, by picking out the melody and adding chords with their own creativity.
Improv frees up the pianist to learn just about any song on the planet, whether they can read music or not. It doesn't matter if the original recording doesn't have a piano part in it, I teach them how to pick out the melody and chords and then show them how to play along. The best part of learning improv is definitely the Rock Recital in the spring. Each improv student picks a favorite song to work on and perfect, and in the meanwhile I hire a drummer and guitarist to learn the songs that the kids have chosen.