Composers' Forum

Music Composers Unite!

I’ve been improving the arrangements on some older stuff I’ve written. This is one I wrote just after having seen the Disney movie “Inside Out”. The tune just kind of wrote itself when I sat down at the piano. That’s an awesome feeling when it happens. I just loved the “sad” character in that movie.

I tried to play piano like Gilbert O’Sullivan with his trademark “pinky bass chop” thingy. You should watch him play piano.. no one, and I mean no one plays piano like that... it’s just all wrong.. which is why it’s perfect!

Here’s a Soundcloud link:

https://soundcloud.com/user-686710883/sadness

Or you could grab the mp3 below.

Views: 69

Attachments:

Reply to This

Replies to This Discussion

Another nice one but I can't associate it with sadness unless the meaning was ironic. It goes along with a "Penny Lane" kind of bounce, lot's of energy, nice percussion and an interesting variety of instruments inc noticeably the brass about 2/3 of the way through. 

I'll take up your point on originality here. I don't think it matters as long as one isn't knowingly plagiarising. Similarities with something already done do crop up which could be accidental, could be a strong influence. I too had this originality thing thrust into my face while studying and found myself isolated often because I'd push for self-expression rather than composing to a brief. There was a push for serial music. I couldn't stand it (for good "semiotic" reasons at the least). I put a few piano pieces together (more as a joke), wrote a commentary about how each came about - that seemed to get "more Brownie points" than the music! it was more important to be a clerk than a composer.  I try to make my pieces original within the stylistic framework which means it's nothing new. As I see it anyway. 

But to use your analogy, I was reviewing a piece this afternoon that I pulled up from the archives - almost finished but almost forgotten, about Sirennes (Sirens) being as a member here has posted a piece about a Siren. It sounded like I bunged the scores of Debussy and Delius in the blender! If I had a worry it's because I didn't realise it at the time. Does it matter? Not really. I doubt it'll see the light of day anyway. 

One other remark about your piece here - the ending. I do a bit of lounge playing and that is so appropriate for a piece like this, tailing off up the keyboard.  Could hardly believe it. It'll be interesting to read if others say anything about it. I can't post a rendering of my playing something I didn't compose here but it's an ending the likes of which I often turn to.

Again, a most pleasant listen, Rick. Thank you!

Yes, I sort of turned the “Penny Lane” trumpet solo “Inside Out” (pun intended) on this one. So you win a brand new car!

My brother said kind of the same thing; that it doesn’t sound sad. Kinda weird because to me the melody sounds melancholy around the edges even when the key is major, just enough to evoke a feeling of sadness. In the movie the “sad” character ended up saving the day which is to say sadness isn’t just dark and gloomy, it’s sort of... complicated.

There should be entire college level music/physics/psychology courses on just why the standard western musical scales of major and minor evoke happiness and sadness respectively. If I could ever figure out precisely why flatting the third can change the mood from bright to dark I could, dare I say, rule the world! Is it conditioning? i.e. could they be reversed to evoke the opposite emotion in someone who has never heard music, or, and I suspect this to be the case, it’s an innate primordial recognition based in the physical vibration of a musical triad such that certain neurons purely by way of physics produce different chemicals to be released in the brain.

Dane, with you being a master of atonality I expect you know the answer to this question but you’ll probably never tell the rest of us as you find it all quite entertaining, am I right? he he he...

Just messin’ with ya! But, really, that’s a question that’s dogged me for decades.

As for my piece “Sadness” in general I sort of had Gilbert O’Sullivan’s “What’s in a Kiss” in the back of my mind especially the bass line.

BTW it’s a great song if you haven’t heard it!

Here’s a YouTube link:  https://youtu.be/ouajeMalTcw


Dane Aubrun said:

Another nice one but I can't associate it with sadness unless the meaning was ironic. It goes along with a "Penny Lane" kind of bounce, lot's of energy, nice percussion and an interesting variety of instruments inc noticeably the brass about 2/3 of the way through. 

I'll take up your point on originality here. I don't think it matters as long as one isn't knowingly plagiarising. Similarities with something already done do crop up which could be accidental, could be a strong influence. I too had this originality thing thrust into my face while studying and found myself isolated often because I'd push for self-expression rather than composing to a brief. There was a push for serial music. I couldn't stand it (for good "semiotic" reasons at the least). I put a few piano pieces together (more as a joke), wrote a commentary about how each came about - that seemed to get "more Brownie points" than the music! it was more important to be a clerk than a composer.  I try to make my pieces original within the stylistic framework which means it's nothing new. As I see it anyway. 

But to use your analogy, I was reviewing a piece this afternoon that I pulled up from the archives - almost finished but almost forgotten, about Sirennes (Sirens) being as a member here has posted a piece about a Siren. It sounded like I bunged the scores of Debussy and Delius in the blender! If I had a worry it's because I didn't realise it at the time. Does it matter? Not really. I doubt it'll see the light of day anyway. 

One other remark about your piece here - the ending. I do a bit of lounge playing and that is so appropriate for a piece like this, tailing off up the keyboard.  Could hardly believe it. It'll be interesting to read if others say anything about it. I can't post a rendering of my playing something I didn't compose here but it's an ending the likes of which I often turn to.

Again, a most pleasant listen, Rick. Thank you!

My friend just said this sounds like it could be in a movie! 

The Partridge Family movie?!!!

Again, can I be Keith?

But seriously, thanks for the kind compliment. I have to admit that I’ve fantasized an “Inside Out 2” movie with a scene of the “sadness” character off on her own with my tune in the background. So, yeah.. that definitely works for me! Tell your friend thank you.  :)

Why does the minor sound sad or angry? Hmm, well part of it must be because the minor contains an inbuilt discord. 

If you look at the harmonic series, harmonic 5 is (as near as damn it) effectively a major 3rd up from the 4th harmonic. Like on a fundamental of C, the series is C - C - G - C - E.

So in a scale where that E is deliberately played flat, it will grate with the E natural going on behind the scenes as a natural harmonic...sort of thing. Perhaps our brains perceive the discord as something untoward. 

I may be quite wrong, of course, but it's been a thought. 

According to my one and only text book "Bluff Your Way in Music" the glossary defines discord as "An obsolete term, no longer in current use."  :D

(Perhaps I've taken that too much to heart!)

I like it. It certainly has some Sullivan vibs. O'Sullivan was one of my favorites at the time and I am happy to see his name mentioned again and that his music still lives through your lovely tune. In my part of the world the youth doesn't seem to know him anymore, I guess I have to remind them. Well done, Rick.

Kjell

Reply to Discussion

RSS

Sign up info

Read before you sign up to find out what the requirements are!

Store

© 2019   Created by Gav Brown.   Powered by

Badges  |  Report an Issue  |  Terms of Service