1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
    Dismiss Notice
  2. You're only as good as the harshest criticism you're willing to hear.
    Dismiss Notice

Using words for basis of thematic material

Discussion in 'Tips, Tricks & Talk' started by Doug Gibson, Nov 16, 2017.

  1. A little while back I made comments about using language as a basis for coming up with melodies.

    It can be a wonderful way - IMO - to come up with melodic material.

    I thought I would offer another example. A little while back I was commissioned be the Peabody Conservatory, in Baltimore, to write a new work based on a poem by Fredrico Garcia Lorca. The number one thing that intimidated me, along with the fact the the audience would all be composers, was having to set Spanish text. I don't speak the language.

    When you don't speak a language, the smallest mistakes can lead to big misunderstandings. In some cases it's worse to be 90% right than 0. Take this translation for example.




    In order to get the emphasis of the words correctly I search and found a recording from the 1940's of the poem. It's not Lorca reading it, but still a native spanish speaker.

    First you will hear the first 2-3 sentences of the poem. Then, like in 90's techno, I will simply loop it, and then slow it down. I am sure you will start to hear a certain melodic quality to the voice.



    I transcribed this reading, and used it as the basis for my composition. The Sibelius rendering is attached below. ( I can't post the concert version for contract reasons. It has been performed a few times.)

     
  2. Great example.

    Did you have to write it for a harp and a flute or was that your choice? And for the actual performance, are there actual lyrics?
     
  3. That was the requirement.

    Yes. On the top stave - the one that says S (for Soprano) - you will see the text. It's the poem, verbatim.
     
    Aaron Venture likes this.
  4. It's an interesting way to approach the problem. All the elements are certainly there in speech - rhythm, speed, volume, pitch. You've got long syllables and short syllables (not length, subdivisions), hard and soft consonants, etc. Definitely a technique I'll be keeping in my back pocket!
     
  5. Great idea! In your opinion, may it be used in under-dialogue scoring context?
     
  6. Really interesting approach, and that sounded way more naturally musical than I expected! Lovely piece.

    When I read the thread title I was thinking more along these lines:

     
    T.j. Prinssen likes this.

Share This Page