I got really completely stuck, my own Form didn’t work well for practical reasons, so I decided to use a Rondo instead. By pure perseverance the piece became longer and longer.. then, suddenly, things turned out really interesting. I stopped myself, knowing that I could not SEE the Music, using this form:
I can’t enVision a Rondo-form in the ‘normal’ 4D way (a Vision of Harmony, ‘clouds of sound-colors’ (Space/ Orchestration) in a (mathematical) Form over Time). When I see the music of a Rondo: form, harmony and orchestration are separate flat blocks/threads instead of the voluminous intertwined combined Whole, I normally See. I can’t See ‘elasticity in Time’ in a Rondo form. And because I can’t enVision the interaction between Space and Time, I can’t write it.
Indeed again, you have to See the Music first.
But I didn’t know that a form could also turn you blind, so to speak…
I had that deep longing for my own Form from my earliest beginnings. Stephen made me aware of that (“You can be bored by form”) and helped meSee the Music, then I Saw the Beauty of Architecture and my own Form settled in. But now I’m really conscious how different my Idea of Form is from other forms and even better, now I can articulate for myself, why that is.
Though this piece wasn’t part of my exploration on Form and Vision, it was. The only thing I needed to do was to constantly relate this piece to all the other works and wonder about the differences.
Indeed again, all pieces are connected, but not chronologically:
The Work of Art is a cobweb of Ideas and Memories.
I think that the Form of the Work of Art, is as important as the Form of a Composition itself. As if the Work of Art (WoA) is one composition in itself, containing all the other pieces. The only thing is that some still have to be written down. The Music itself, is already (t)here.
I think that even the Form of the books Composers write, better be in sync with the Form they choose to write their Music in. Only then the Story in Form can fit with the Story in Music, and they will fit into (the Story in) the Work of Art.
Maybe Form is an expression of the Soul, as much as the more obvious Harmony?
Only when all comes from One Honest Place, the Work of Art will teach the Composer and all can grow beyond any boundary imaginable. I always thought of Form as a rational construct, but I have to reconsider.
The Moon Challenge 2021:
The Idea of what a Composing Teacher could also be is carefully approaching me…
How to Compose Teaching?….. there is an interesting perspective…
The difficulty of Teaching Composition is that composing is a Zoom-in Zoom-out iteration. You Zoom in on one tiny detail, then you Zoom out to overlook the Whole. You do this for all crafts needed and for all notes and pieces you write. The better you can Zoom in, the better you can Zoom out. This is why a ‘logically organized book’ often doesn’t work well for me learning how to be a composer.
On top of that: You can learn all the books, form, theories…but that will never prepare you for Real Questions. It’s actually easy to get the right answer, but difficult to get the Question right. To get to the Real Questions right, might also be one of the main tasks of a Composing Teacher.
A Composing Teacher probably prepares for the future to hold the cobweb of Ideas and Memories that is (not only his/her own WoA, but) the Whole Work of Art. The task might be To Light behind it and make people See. And when some-one gets caught into it’s Truth, help him/her Listen to pursue Freedom.
The question remaining: Does the Whole Work of Art also have a Form? But maybe that isn’t a Real Question?
I’m really excited to learn so much from this completely frustrating composition, it’s such an unexpected, ‘wonderfilled’ day. I hope to write more frustrating works soon!