Documents with story

Hello Stephen,

This is interesting….especially the time-line combined with the non chronological lay out. The ‘golden rule’ markings…

And here comes my explosion of thoughts, photos and music…you trigger this in me, it’s really fun!

My first composition I started with a simple story lay out. But I had too many characters and scenes and ended up in chaos. 

I also lacked that perfect moment for this one huge climax, so I used the ‘anatomy of story’ from J. Truby and the energy curve of ‘the addiction formula’ and layered them on top of each other.

Then I wrote music from the perspective of one character with that.

Weihnachtswolf MOD18

Thomas Trachsel (MOD 2018) advised me I should ‘sit in an emotion to produce the music’. I did this last spring, and used a phrase of Dvorak to see if a phrase of a master would help me. I did this, and ended up with a boring, thick orchestrated composition. It was the best learning experience this year, it prooved:

And it proved my ‘necklace theory’ is write, you can help a boring necklace with improved orchestration, but this music isn’t REALLY good.

Theory: Boring music improves with extreme orchestration.
The fury, thick orchestration
I was trying to compose this … I will try again for MOD20
The fury, improved orchestration

After this frustrating event and meeting you. I layered the State of the Art-scheme on top of the addiction formula:

Comparing energy-curves of the State of the Art (forces 1 and 2) with the Addiction formula

And I tried to make a musical interpretation of it:

Musical projection of the scheme of the State of the Art.

These last months I have been studying DNA and Norden. You are right, every combination of 4 notes makes for a whole different composition.

The workflow that Norden uses, is totally different. (I have all the books (in PDF), LOVE his prefaces)

As I see it now, now I don’t have to use the chronological timeline itself as a composition. Like you show me in your picture. This facilitates writing non chronological and I will still be able to plan ahead story-lines and climaxes in it. I very excited!

So I am now composing for trombone-choir to be able to focus just on form. I am trying to layer this new form on top of the others. I am trying this with two DNA’s of the same notes, over two sets of 34 bars, changing from one DNA into another naturally. As in the conversation between Jesus and the Woman from ‘Form the silent language’.

I will know if that was a wise choice within a few weeks, and learn 😉 

Have fun writing!