Tempo and Key

I was just wondering if anyone else has this problem: It might sound kinda stupid but.......... That I cannot stay in the same key and time signature for ONE FREAKING MINUTE! In the only movement of my symphony that I've managed to finish, I must have put in 5 or 6 tempo changes.... In some of my other pieces, I change the key 3 times in two minutes....I'm starting to think that its because I do not have the capacity to expand on my themes, or they just cannot be expanded upon, so I just move on. If anyone else does this, why do you think you do this? Thats all....

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  • Jacob, trust me when I say that you are doing everything right. Your style of composition (and mine) is what makes genuine art music (classical music) so different from pop music.
  • I fall into the same scenario more often than not, and I always question my limitations or capacity. Then again, there are times that I intentionally keep changing the tempo and/or key.

    Stravinksy, as well as many others changed key/tempo at the drop of a dime.

    But I agree with Anne on letting it flow and at the end of the day, does it sound good or right to you? Forget everyone else, it has to please you first
  • Jacob, perhaps, I know what you say with the capacity to expand on your themes. It's true and I think that is the first question that a composer must face.
    But it doesn't depend by the key. There are excellent examples of themes with a sequence of different keys.
    (sorry for my english!)
  • Very true, take the main subject of th Kyrie chorus in Bach's B Minor mass, or Peter's theme on the violiins in Prokoviev's "Peter and the Wolf".

    Francesco Lettera said:
    Jacob, perhaps, I know what you say with the capacity to expand on your themes. It's true and I think that is the first question that a composer must face.
    But it doesn't depend by the key. There are excellent examples of themes with a sequence of different keys.
    (sorry for my english!)
    Tempo and Key
    I was just wondering if anyone else has this problem: It might sound kinda stupid but.......... That I cannot stay in the same key and time signatu…
  • Yes, the capacity of expand means the capacity of coherence. Imho!
  • Does anyone else have this problem? Stravinsky sprang immediately to mind. Followed by quite a few others. I think you're fine. Go with your strengths.
  • Is can surprisingly difficult for some of us to just take it easy and let your melodies breathe within a single tonal context.
    For inspiration, you could listen to Cool Jazz artists like Dave Brubeck or Jim Hall, any of the Classical era masters, or any composer from the Renaissance eras.

    On one hand, it isn't a big problem if the product turns out good.

    On the other hand, we as composers like to know we can do something, even if we ultimately do not.
  • Why would you discount the Baroque masters in particular?

    Lyle Raymond said:
    Is can surprisingly difficult for some of us to just take it easy and let your melodies breathe within a single tonal context.
    For inspiration, you could listen to Cool Jazz artists like Dave Brubeck or Jim Hall, any of the Classical era masters, or any composer from the Renaissance eras.

    On one hand, it isn't a big problem if the product turns out good.

    On the other hand, we as composers like to know we can do something, even if we ultimately do not.
    Tempo and Key
    I was just wondering if anyone else has this problem: It might sound kinda stupid but.......... That I cannot stay in the same key and time signatu…
  • I was taking into account Bach's tendency to use frequent, and rather dramatic, modulations.

    Simon Godden said:
    Why would you discount the Baroque masters in particular?

    Lyle Raymond said:
    Is can surprisingly difficult for some of us to just take it easy and let your melodies breathe within a single tonal context.
    For inspiration, you could listen to Cool Jazz artists like Dave Brubeck or Jim Hall, any of the Classical era masters, or any composer from the Renaissance eras.

    On one hand, it isn't a big problem if the product turns out good.

    On the other hand, we as composers like to know we can do something, even if we ultimately do not.
    Tempo and Key
    I was just wondering if anyone else has this problem: It might sound kinda stupid but.......... That I cannot stay in the same key and time signatu…
  • I agree, but Bach was a law unto himself. Vivaldi on the other hand would write very lengthy melodies within a single tonal context, as would most other Italian Baroque masters. What's more, I cannot agree with what you say about the Renaissance movement. Palestrina and his 16th century contemporaries didn't establish tonal centres at all. They didn't even work around modal home keys. There was a lot more freedom in their use of counterpoint, and their efforts to produce ultimate consonance would often lead them to cadence off in a completely different modal centre from whence they started.

    Lyle Raymond said:
    I was taking into account Bach's tendency to use frequent, and rather dramatic, modulations.

    Simon Godden said:
    Why would you discount the Baroque masters in particular?

    Lyle Raymond said:
    Is can surprisingly difficult for some of us to just take it easy and let your melodies breathe within a single tonal context.
    For inspiration, you could listen to Cool Jazz artists like Dave Brubeck or Jim Hall, any of the Classical era masters, or any composer from the Renaissance eras.

    On one hand, it isn't a big problem if the product turns out good.

    On the other hand, we as composers like to know we can do something, even if we ultimately do not.
    Tempo and Key
    I was just wondering if anyone else has this problem: It might sound kinda stupid but.......... That I cannot stay in the same key and time signatu…
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