Thanks Gareth. Just the video I needed to see. I've never considered this before but constructing melodies using these three components gives composers the opportunity for three or more different development phrases/sections.
That was interesting. I've always thought of those ideas in a more macro sense. I like having each movement of a piece have its own personality. But I never thought of breaking that down further to give parts of melody lines their own personality as well.
Hello, Maestro. May I (if YES - how) send to you a score of an A CAPPELLA choral piece so you could analyze it and tell us what components had been used for the short (two pages) SATB choral composition. Thank you in advance. Gregory A Smirnov California
Hi. If you go to www.mmcourses.co.uk and click on private tuition you can book 30 minutes or 60 minutes with me. I’ll then analyse your score and send the results to you.
Hi. Gosh I love these videos. I have a question. So, I'm composing an orchestra piece, trying to make it sound closer to later Beethoven and early Robert Schumann orchestration. The pice is in C major, there's a loud chord on almost all instruments the strings stand out mostly. Then I have the horns (French Horn and Tuba) leading this sort of question phrase. So I'm using for that part mostly note C and E. My question, I don't want to take away from my horns, but they need something more, which winds would compliment them? If you read all of this, thank you so much.❤
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Love this kind of videos. Thank you, best regards from Argentina
A pleasure
Thanks Gareth. Just the video I needed to see. I've never considered this before but constructing melodies using these three components gives composers the opportunity for three or more different development phrases/sections.
Glad it’s useful
That was interesting. I've always thought of those ideas in a more macro sense. I like having each movement of a piece have its own personality. But I never thought of breaking that down further to give parts of melody lines their own personality as well.
It’s a useful deconstruction in terms of building a melody that contains elements for development.
I like the visual language of music form and how that be used to compose a melody. Will be checking the website!
Glad it’s helpful
Brilliant. Thank you.
Glad it’s helpful. Much more to help you at www.mmcourses.co.uk
Thank you for a very nice video about components of a strong melody, Gareth! :)
A pleasure
Wow that gave me a fresh look at composition. Thx
Glad it’s helpful. Much more to help you at www.mmcourses.co.uk
Thank you so much, very interesting.
Glad it’s helpful. Much more to help you at www.mmcourses.co.uk
Quite thought provoking❤
Glad it’s helpful
Nice learning ❤
😀
The first 1.5 bars, is that was some refere to a mannheim rocket?
It might be implied unintentionally!
In his day, Mozart wrote many a bangin' tune :-)
He sure did
Perfect
Glad it’s helpful. Much more at www.mmcourses.co.uk
super helpful
Excellent. Much more at www.mmcourses.co.uk
Also harmonic unity / cadential completeness: TSTD
😀
Hello, Maestro. May I (if YES - how) send to you a score of an A CAPPELLA choral piece so you could analyze it and tell us what components had been used for the short (two pages) SATB choral composition. Thank you in advance.
Gregory A Smirnov
California
Hi. If you go to www.mmcourses.co.uk and click on private tuition you can book 30 minutes or 60 minutes with me. I’ll then analyse your score and send the results to you.
Hi. Gosh I love these videos. I have a question. So, I'm composing an orchestra piece, trying to make it sound closer to later Beethoven and early Robert Schumann orchestration. The pice is in C major, there's a loud chord on almost all instruments the strings stand out mostly. Then I have the horns (French Horn and Tuba) leading this sort of question phrase. So I'm using for that part mostly note C and E. My question, I don't want to take away from my horns, but they need something more, which winds would compliment them? If you read all of this, thank you so much.❤
That’s great. Try adding Clarinets to Horns.
@@MusicMattersGB Thank you SO MUCH!
@Stashi1808 A pleasure
The first G in the second bar is climbing over the wall. And thinks, what happens next? ^^
😀
3 act structure
😀
Interesting you used Mozart, would’ve thought you would’ve used Schubert, possibly the greatest melody writer in history.
Could easily have done so.