| Music composition is ultimately about finding YOUR | | | | the classical compositional rules for writing melodies |
| voice, not someone else's. To that end, there are | | | | even if you are writing contemporary music. The |
| many tools that a composer can use to further them | | | | ability to take a "seed" melody, often called a motive, |
| along. To compose authentically you must develop a | | | | and elaborating it into a complex structure is an art |
| trust in yourself. This can be as simple as knowing | | | | unto itself. |
| what your own tastes are by listening and paying | | | | Rhythm is at the heart of all music whether it be |
| attention to music that inspires you and that you | | | | highly rhythmic based music or not. It is the |
| attracted to. Along the way there are some practical | | | | underlying pulse in music that is felt at the gut level. |
| steps and skills to learn as you develop in your music | | | | Studying rhythm across all styles will pay off down |
| endeavors. | | | | the road. Make time to reflect on and understand |
| Upon finding through inspiration or by direct | | | | that rhythm conveys moods, and that one can |
| composition, and idea that seems fruitful, the next | | | | influence the listener to feel different ways according |
| step is to develop it to see where it leads. Some will | | | | to the rhythms chosen. |
| be fruitful, and some will wither and die upon further | | | | Arranging is the study of composing music for |
| inspection. Having a tool kit to rely on can help in this | | | | multiple instruments, bands, voices and so on. The |
| process. Learning as much music theory, arranging | | | | ability to take a piano score, for instance, and then |
| and basic compositional processes you can, will take | | | | writing it out for an orchestra is a potent skill to |
| you far. Melodic development, rhythmic development | | | | have. Arranging also applies to music composed for |
| and variation, counterpoint, and other traditional | | | | electronic instruments, by spreading melodies, |
| theories, can take a rough idea, and shape it into a | | | | rhythms, and harmonic material across the limitless |
| large scale work. The growing composer is always on | | | | diverse sound palette available to the modern |
| the lookout for more tools such as these. | | | | composer. |
| Form in music is the foundation of music. By studying | | | | These are the basics elements of all music. The more |
| form in all genres of music, a composer has many | | | | command you have of them, the more options |
| more options and a pathway to follow as the | | | | available in the process of composition. Ideally, these |
| composition unfolds. Don't limit yourself to studying | | | | elements become assimilated to where they become |
| form in your chosen style, but assimilate other forms | | | | second nature, and under subconscious influence. At |
| from other styles too. Crossing and weaving | | | | this point they will surface when needed keeping the |
| different forms together can prove extremely | | | | flow of musical composition moving. The more you |
| fruitful. Using forms from other styles and composing | | | | study these main tools the better, just be sure not |
| in your chosen branch can yield unexpected surprises. | | | | to make study the only goal. Equal parts of theory |
| Melody is that illusive fleeting something that your | | | | and actual composition are the best recipe for a |
| listener will remember long after the notes have | | | | balanced life, as musical output is the primary goal of |
| faded away. Countless books have been written on | | | | any aspiring composer. |
| crafting melody alone. It is time well spent studying | | | | |