I've started this thread so as to not further derail Guy's thread re intuituve composing.
This post is a result of my and David's discussion about the use of technique whilst composing, i.e. using craft. I said I'd post some examples from how I use technique and this is the first of two examples. The second post will be about how I generate harmony, from the most dissonant to consonant using technique as a 'search engine' to find raw material to explore. It'd be nice if others can post about their methods as there are many approaches to be had. So to get the ball rolling and especially to fulfill a request from Teoh, here's some motivic analysis of the 1st mvt. from my violin concerto. The aim is to show how by retaining control of and applying invention and imagination to raw material, one can create the illusion of inevitability and at the same time maintain a musical focus and create a sense of purpose and impetus. The movement has two themes marked A+B but in reality it's more like one theme with two parts. I've only scribbled A's and B's on the score and have probably missed something but it should be obvious that motivic development is taking place.
I'm not posting this for the glory nor am I suggesting that what's demonstrated here is masterful or superior in any way. I post this merely to show a rather obvious and mundane technique I and many of us like to use to create a unified piece of music. Anyway I'll keep this short but should just add that the score and the audio don't match at letter J as I stupidly marked the wrong score. There may be other discrepancies but not enough to throw you off course. If you can, listen on headphones for the best sonic results.
Mike Hewer Violin concerto.1st analysis for CF.pdf
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