Hello! I have been learning about the subject of texture and its analysis, notably the concepts of "melody and support" and i have trouble understanding the difference between what could be called a "Static support" and an "Harmonic AND Rythmic support". I read that ostinatos melodic and rythmic patterns could be considered sometimes as "static support", but in that case doesn't it just becomes "harmonic and rythmic" rather than just "static"? Maybe its to be understood as an isorythmic thing more than rythmic? Would your online courses have some clarification on the matter? Anyway thank you for your videos!
In some situations you might hear/see a melody which is supported by a single sustained chord ie no movement in the rhythm or the harmonic rhythm. This would be at the extreme end of static. At the other end of this scale you might hear/see plenty of movement in the rhythm and harmonic rhythm. The difficulty is with what comes between the extremes. Ostinato can be considered static because it’s simply a repeated pattern, not particularly moving to a new place. We cover texture as part of the content in a number of our courses but we don’t have a course dedicated to that topic.
I have a random question. How does Btvn in say a peice like Eroica MVT 1 drop bass notes seamlessly? Any secret Krabby patie formula? Lol. I have a fast rolling part I'm imagining for a string quartet finale. And it sorta sounds like buttons popping off with pizz and arpeggios and a dropping bass on cello. But if what I am trying to convey makes any sense thus far, any ideas or examples in classical music where the bass note gets droped in a fast pace phrase? Or if there is any thoughts on Eroica that would be just as highly appreciated as everything you help us composers with. Thanks for all the anwsers before, and for these great videos! Have a good day sir.😊
The trick is to mix root position chords with first inversions and to vary textures so you haven’t always got bass notes driving along at the bottom of the texture.
I want to become a producer, I'm really confused about creating and organizing textures for different instruments in my songs, where should I start to learn?
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Creative Songwriting - Get the rest of this course here!
www.mmcourses.co.uk/p/creative-songwriting-course
Thank you for another helpful lesson. I love the effect of the sparse chords.
😀
....another brilliant video.....thank you......
A pleasure. Much more at www.mmcourses.co.uk
So much wisdom in this video
Glad it’s useful. Much more at www.mmcourses.co.uk
It opened my path on composition with vocal and instrumental. Keep it up❤
That’s great. The rest of the course is at www.mmcourses.co.uk
I didn't have time early to view this. I need to make notes on this. But your information is very good for me. Thank you😊
A pleasure. The rest of the course is available at www.mmcourses.co.uk
Hello! I have been learning about the subject of texture and its analysis, notably the concepts of "melody and support" and i have trouble understanding the difference between what could be called a "Static support" and an "Harmonic AND Rythmic support". I read that ostinatos melodic and rythmic patterns could be considered sometimes as "static support", but in that case doesn't it just becomes "harmonic and rythmic" rather than just "static"? Maybe its to be understood as an isorythmic thing more than rythmic? Would your online courses have some clarification on the matter? Anyway thank you for your videos!
In some situations you might hear/see a melody which is supported by a single sustained chord ie no movement in the rhythm or the harmonic rhythm. This would be at the extreme end of static. At the other end of this scale you might hear/see plenty of movement in the rhythm and harmonic rhythm. The difficulty is with what comes between the extremes. Ostinato can be considered static because it’s simply a repeated pattern, not particularly moving to a new place. We cover texture as part of the content in a number of our courses but we don’t have a course dedicated to that topic.
I have a random question. How does Btvn in say a peice like Eroica MVT 1 drop bass notes seamlessly? Any secret Krabby patie formula? Lol. I have a fast rolling part I'm imagining for a string quartet finale. And it sorta sounds like buttons popping off with pizz and arpeggios and a dropping bass on cello. But if what I am trying to convey makes any sense thus far, any ideas or examples in classical music where the bass note gets droped in a fast pace phrase? Or if there is any thoughts on Eroica that would be just as highly appreciated as everything you help us composers with. Thanks for all the anwsers before, and for these great videos! Have a good day sir.😊
The trick is to mix root position chords with first inversions and to vary textures so you haven’t always got bass notes driving along at the bottom of the texture.
I want to become a producer, I'm really confused about creating and organizing textures for different instruments in my songs, where should I start to learn?
You could book an hour with me at www.mmcourses.co.uk - click private tuition.
After one of your videos, it all seems so simple. Immediately useful, thx!
That’s great. The rest of the course is at www.mmcourses.co.uk