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Post by David Unger on Sept 17, 2017 18:49:02 GMT
I (being pehaps more of a theorist than a composer) often find inspiration for new music directly in other composers mimicing there style.
As a singer and (mainly) a song composer I sometimes also compose new songs to texts that other composers have set in a way that I don't find completely satisfying, thinking "if I were Schubert, how would I have set this music?" trying to make a Schubert-song that better suits the text.
BUT these are just two ways of being inspired by what others have done - how have composers inspired YOU? Have you "stolen" a certain style, sound, phrasing, harmonic stucture, rythmic approach or other from one or more composers adapting it to your own composing style, process or other?
In that case, what have you taken with you, why and from who?
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Post by Dave Dexter on Sept 17, 2017 22:19:03 GMT
Most things I've "stolen" probably come from John Williams, particularly his dissonant brass writing and general orchestration. Danny Elfman's off-kilter chords inspire me to be fluid with how I progress through harmonies and return to key. I listened to a few seconds of Jon Lord's "Concerto for group and orchestra" and have included unison xylophone/violin rhythms ever after. A random cue in Anchorman 2 made me realise that staccato flutes and trumpets sound great.
Happily, even the best composers tend to be doing the same things in different ways so when you break down a great moment and realise it's something you already know and have played before, it's not so much a case of stealing it as giving yourself permission to write it into your own work in your own way. Working on choral music and breaking down 500 year old pieces for inspiration makes it clear - they got to the good harmonies first (and probably other people way before them).
Specifically though, it was watching How To Train Your Dragon in the cinema and falling in love with the score and realising I'd no idea how, but I wanted to turn my unformalised musical abilities into something far better. I've acquired a host of inspirations since, but John Powell's the first. "X sounds amazing and I want to make something that sounds this good" is generally my first step.
What specific things have you taken?
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Post by Bob Porter on Sept 18, 2017 3:35:19 GMT
Specifically? Oh, probably every note I've ever written. You know they don't belong to me. Notes, that is. But they let me use them from time to time.
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Post by David Unger on Sept 18, 2017 4:50:13 GMT
What specific things have you taken? Well the most obvious direct inluences can be heard in my two-part invention where Bach's shadow hangs heavily, since it is actually composed after an idealised pattern of his works in the genre set up by David Fuentes. Two other pieces are my songs "Dikten till musiken" (The poem to the music) and Der König in Thule (The king of Thule) where I have made the accompaniment directly upon patterns in Schubert's Ave Maria and Heidenröslein respectively. Less obvious influences can be found in my Nocturne where the A (it's in AABAA-form) is very closely based on how the thematic entrances comw in John Field's Nocturne in B-flat. Even the chordal coda of A is in the Field-piece and even if the material in itself is entirely original I think you can identify the source. The B section (A small march) is instead inspired by the middle section of the G minor Nocturne of Chopin's op. 37. Here you can hear the direct influence in the repetitive pattern and the almost exclusive use of chords in root position.
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Post by Mike Hewer on Sept 18, 2017 8:12:51 GMT
Bach weighs heavily on us all I feel. I have mixed feelings about Field. I have his nocturnes and have sight-read my way through some of them but am constantly comparing them to Chopin. I should hunt out a recording and listen properly, give him a chance as my sight-reading can be better explained if you spell in a H after the S in sight.
My biggest influence is probably Britten, perhaps not so much in terms of language (although his is very special and can at times overwhelm my efforts) but in his economy of means. Not for the last time will I follow a score of his and marvel at how superb imaginative orchestration can be achieved with the deftest and simplest of touch. His invention too is a the perfect vehicle for his musical thought. All in all an undisputed modern day master and only one of a handful of composers who can equate to Bach and Mozart when it comes to genius.
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Post by Tim Marko on Sept 20, 2017 21:15:39 GMT
In no particular order, Copland Bernstein Alfred Reed
Copland created a truly unique sound. Very "American". Bernstein also "American", but with a much more modern approach. Reed is one of the most popular band composers.
All created very melodic works while pushing the harmonic and rhythmic boundries, and the listener was able to enjoy without having to understand the method.
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Post by David Unger on Sept 21, 2017 5:26:52 GMT
In no particular order, Copland Bernstein Alfred Reed Copland created a truly unique sound. Very "American". Bernstein also "American", but with a much more modern approach. Reed is one of the most popular band composers. All created very melodic works while pushing the harmonic and rhythmic boundries, and the listener was able to enjoy without having to understand the method. But I suppose you have understood their method in order to make use of their influence in your music. Can you give examples from the repertoire (theirs or yours) on such "pushing of the boundaries" so that a northern European without any first hand experience of America might understand better what you are speaking of? Although I have not listened much to either Berstein or Copland (but read them both as authors, I am curious to get to knnow their music better and perhaps you could give me a hint on where you think is the best place to start. I would love it if it was related to what you find modt inspiring for your own work as well.
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Post by fuguestate on Sept 21, 2017 16:16:47 GMT
My biggest influence has got to be Beethoven, particularly his 6th symphony, which I spent much time analysing as a youth to discover the secrets of his (IMO) awesome modulations. The storm movement was what originally inspired me to want to compose.
As for how he influenced me: I'd say it's mainly in the passion or drive in his music, and his flavor of harmony. That's why I always strive for my music to have "passion" or "drive", as opposed to a mere theory-perfect construction. And in spite of my current fugue craze, I still feel closer to Beethoven in terms of harmonic language than Bach.
Of course, others have influenced me since, but I think Beethoven influenced me the most.
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luis
New Member
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Post by luis on Sept 26, 2017 18:23:02 GMT
Hi.
My big influences are: Debussy, Schönberg, Messiaen, John Cage. In my opinion they all created new languages.
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Deleted
Deleted Member
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Post by Deleted on Sept 26, 2017 19:15:25 GMT
Probably only two for me and yes, it's an age thing. Ennio Morricone because................... before the spaghetti westerns of Sergio Leone I didn't pay much attention to film scores and........ J B Prendergast because I loved the voice of Terence Edward Parsons. A particular favourite being Wednesday's Child.
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Post by BootHamilton on Sept 27, 2017 21:21:48 GMT
Specifically? Oh, probably every note I've ever written. You know they don't belong to me. Notes, that is. But they let me use them from time to time. So would you say, then, that you're a composer of note?
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Post by fuguestate on Sept 27, 2017 21:33:34 GMT
Well, I'm certainly a composer of notes (aren't we all? ), but whether I'm a composer of note is an altogether different matter.
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Post by BootHamilton on Sept 27, 2017 21:40:46 GMT
Well, I'm certainly a composer of notes (aren't we all? ), but whether I'm a composer of note is an altogether different matter. I stand corrected. A single note does not constitue a composition - the minimum requirement being two. My favorite I usually reserve for the finale. It goes like this: V - I. 'you like it? (It's not an original piece, but it is my stylized interpretation.)
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Post by fuguestate on Sept 28, 2017 0:39:42 GMT
Actually, it is possible to write a composition involving a single note. In fact, you could write four pieces on a single note. As they say, fact is stranger than fiction.
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Post by Bob Porter on Sept 28, 2017 0:50:59 GMT
I can't really say what my influences are. Perhaps others who pay attention to such things could. I will say this: Decades ago, as a high school student. I went with a music teacher friend to a planetarium show in Los Angeles. The show was fantastic. But the finale was what I remember the most. The show ended with a sunrise sequence. All was quiet. Then a solo horn could be heard. The theme repeated and as the sun rose, more and more instruments were added until the sun was up in all it's glory, and the music was big and glorious. After it was over, I asked my friend what the music was. He said it was the finale to the Firebird Suite. Ever since then I try to write horn solos into my orchestral music.
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