Jump to content
HAPPY NEW YEAR, TO ALL OUR HARMONY CENTRAL FORUMITES AND GUESTS!! ×

How would you go about writing a solo sonata for a single voice?


Recommended Posts

  • Members
Posted

I really love stuff that is writen for solo violin or flute, or other single voiced instruments... I am wondering how composers write things that have no vertical harmony, yet still maintane interest throughout the peice. what are some common techniques? I've noticed a lot of theme an variation, and a lot of implied harmonies via arppegios and what have ya'

 

I'm interested in composing some chamber music, starting with single voices, then two, and so on consecutivly untill I have like four or five voices (I really have no wish to write for an orcestra, the sounds are to muddled for me, I like to be able to decern each individual instrument). I've been trying to over step my abilities, and it is getting me nowhere fast.

  • Members
Posted

This is where good knowledge of counterpoint comes in very handy. Understanding the interplay between stability and tension is quite important.

In short, understand how the various melodic intervals affect your piece (remember, it also depends on context). Think about how you can use leaps and chromatic/dissonant intervals to highlight climactic points. Think about how stepwise motion fills in larger contrapuntal structures. Contrast the lyrical with the metronomic - and don't forget rests. Use sequential passages to emphasise certain phrases - this is very useful when considering the thematic structure of the piece.

Hopefully that's enough to give you a leg up.

  • Members
Posted

This is certainly NOT an answer to your question, but as I recall the PURPOSE of an orchestra to make the instruments LOUDER (LOTS louder!) If they really sound that muddy, you may need to go to a better orchestra. The sections SHOULD play as one, leaving no room to discern between them. (The venue can play a part in this as well as engineering, if you're referring to recorded music.

Chamber music is VERY, VERY cool stuff though. (please bear in mind while reading this: I am not a classical guy, but I probably have more classical music -- and really do listen to it when the mood is right -- than do most of my rocker friends)

Much the same as seeing Lynrd Skynrd (3 guitars, Keyboards, Bass & Drums) open for ZZTop (Guitar, bass drums)-- in the same venue (a collegiate basketball arena -- certainly not intended for that use), with the same PA, but with Skynrd sounding really crappy, and ZZ sounding GREAT! -- Chamber music is similarly stripped down to only it's most essential components, which leaves it far less cluttered.

Now, do I win the run-on sentence award for the above?


g

  • Members
Posted
Originally posted by estew72

yeah and make sure to give the singer space to breathe!

no... I mean a single voiced instrument. not a human voice. those are refered to as cantatas or arias, a sonata implys that it is played rather than sung....

or were you commenting on the need for rests in a roundabout way?;)

  • Members
Posted

Originally posted by the_big_geez

This is certainly NOT an answer to your question, but as I recall the PURPOSE of an orchestra to make the instruments LOUDER (LOTS louder!) If they really sound that muddy, you may need to go to a better orchestra. The sections SHOULD play as one, leaving no room to discern between them. (The venue can play a part in this as well as engineering, if you're referring to recorded music.....


etc....

 

I agree, I did not state myself correctly. I mean that I like to hear each voice as an instrument unto itself. It usually creates more space in the mix, as opposed to the fuller sound of an orcestra.

  • Members
Posted

take a thery course or read a book about basic music theory. this will help immensely. the composers that wrote the classic chamber music were well studied musicians, well versed in theory. a basic course will help you see the implied vertical harmony. heh - gimme a piece of classical music to share and i can show you the tonal changes.

but trying to guess......thats like shooting at flys in the dark, you might hit one every now and then...

;)

  • Members
Posted

Originally posted by ninjaaron


I agree, I did not state myself correctly. I mean that I like to hear each voice as an instrument unto itself. It usually creates more space in the mix, as opposed to the fuller sound of an orcestra.

 

 

Yeah, I couldn't tell which way you were going at first...

 

But it's all good.

 

 

I dusted some cobwebs off my memory and seem to recall that the basic concept you're after here stems from understanding what the exact frequency range of each instrument is.

 

I think if it's to be a Sonata you would select a featured voice, and focus on that throughout the composition, and perhaps darting in and out with the complimentary voices coming to the forefront in answer to the lead, but without fully departing their initial role as harmony, then dashing back to the harmony role.

 

I've given some thought on HOW it has been done, and invariably reach the conclusion that those who do it WELL, do it reflexively, rather than calculatedly.

 

We also have the concept of writing for a specific performer, as well as for an instrument.

 

While I have dabbled in all manner of composition at one time or another, (absolutely NOTHING of note, mind you), I still tend to like my own work best when I can hear it FIRST, in my mind, and then (hopefully) translate the concept to what others can understand. This as opposed to making a 'reason' for the note or notes being used.

 

Just something else to think about.

 

 

 

g

  • Members
Posted
Originally posted by hoec

take a thery course or read a book about basic music theory. this will help immensely. the composers that wrote the classic chamber music were well studied musicians, well versed in theory. a basic course will help you see the implied vertical harmony. heh - gimme a piece of classical music to share and i can show you the tonal changes.


but trying to guess......thats like shooting at flys in the dark, you might hit one every now and then...


;)

whats theory?;)

While I have dabbled in all manner of composition at one time or another, (absolutely NOTHING of note, mind you), I still tend to like my own work best when I can hear it FIRST, in my mind, and then (hopefully) translate the concept to what others can understand. This as opposed to making a 'reason' for the note or notes being used.


Just something else to think about

that is what I planned, but I am going to be writning a solo sonata (for overdriven electric guitar, as it is my primary instrument), so bringing up background voices is not an option. the reason I ask is because I would like some Ideas as to how to balance harmony and melody for a single voice.

  • Members
Posted

I can't answer that. BUT I can tell you that you MOST DEFINITELEY DO have the other voices!

"The guitar is the single-most blasphemous instrument ever devised by man. On a Bass you can play balls. A saxophone, sleaze. But if you want to be TRULY obscene, you have to have an electric guitar!" --Frank Zappa

Man, I could list a LOT of freaks, but give a listen to D'Jango Reinhardt. Even while playing leads, he makes it seem at times that there are 3 voices. And this was on ACOUSTIC!


g

  • Members
Posted
Originally posted by the_big_geez

Man, I could list a LOT of freaks, but give a listen to D'Jango Reinhardt. Even while playing leads, he makes it seem at times that there are 3 voices. And this was on ACOUSTIC!

:eek:

I am never going to be writing more than two notes at once, but I know what you mean, It is going to be tough, I am going to have to work on tapping like a mo-fo. I'm thinking of doing some harmonies with the left hand fingers, and melodies with the right, and least in the adagio.

I still haven't gotten the insperation for a really good theme though. I've had a few moments of insperation in the past few days, but they have all been very conteperary sounding. I'm going for a more historic feel, at least with the initial theme. I'll pobably mix in some weird stuff later, but nothing too conteperarly sounding. although you can expect the whammy bar to play roll at some point (though probably not as much as in my next projects, sonata for Electric guitar and bass, sonata for Electric and acoustic guitar, trio sonata, and finaly the guitar Quartet. after which I plan to branch out to other instruments, violin, cello, piano, flute, oboe, sax, banjo, hopefully a peice with tubular bells).

  • Members
Posted
Originally posted by Auggie Doggie

You should study Bach's Sonatas and Partitas for Solo Violin and the Cello Suites. I do not know of finer examples of writing for a solo instrument (excluding keyboards).

I have already begun to. Truly beautiful music indeed. I have also been studying Paganini's 24 caprices, which are also fine solo works (albeit they are technicaly far beond me). I currently am studing sonata No. 2 in A minor and Cello suite No. 1. I will be getting the sheet music ASAP, I am currently studying them by ear, which is only getting me so far. lots of pedal tones, something I currently use in my solo writing a lot. A pedal tone is such as simple but effective accopanyment. learning is good.

  • Members
Posted
Originally posted by ninjaaron

I have already begun to. Truly beautiful music indeed. I have also been studying Paganini's 24 caprices, which are also fine solo works (albeit they are technicaly far beond me). I currently am studing sonata No. 2 in A minor and Cello suite No. 1. I will be getting the sheet music ASAP, I am currently studying them by ear, which is only getting me so far. lots of pedal tones, something I currently use in my solo writing a lot. A pedal tone is such as simple but effective accopanyment. learning is good.



I've got all the Caprices on my computer in both .pdf format and .tif. If you want them, PM me and I can Yahoo or AIM them to ya. I do NOT have those Bach pieces on the computer though...and I don't have a scanner :(.

Anyway, the Paganini pieces are great in their own right, but as far as composition is concerned, they aren't in the same league as the Bach works.

  • Members
Posted

Originally posted by ninjaaron

(I really have no wish to write for an orcestra, the sounds are to muddled for me, I like to be able to decern each individual instrument).

 

 

This may be wavering away from the topic, but something else DEFINITELY worth listening to for edification's sake, if nothing else, is Respghi's Ancient Airs & Dances. (Be sure to find the June '58 performance of the Hungarian Philharmonic in Vienna, conducted by Dorati.

 

He adapted a bunch of VERY old folk songs for a full orchestra, and then compartmented them into 3 suites, so they have a context to each other.

 

His use of instrumental arrangement is outstanding.

 

This is best listened-to with a bottle of wine, (at least half-gone), the best stereo you can find, and TURNED-UP REAL LOUD!!! (There is a lot of use of contrasting volumes of different orchestral sections in this work. The softer passages go almost unnoticed if the volume is too low).

 

See if this passes the mud-test, plus it may reveal how simple an approach may be with the use of recurring themes. (I KNOW it's not a sonata, but in music almost any abstract concept can be applied to almost any other.)

 

 

 

g

  • Members
Posted

I pm'ed you, thanks.

I agree that the level of composition was greater on the bach peices, but refections of bach can clearly be heard in the Caprices (particularly in the second, If I recall correctly)

  • Members
Posted

Originally posted by ninjaaron

I pm'ed you, thanks.


I agree that the level of composition was greater on the bach peices, but refections of bach can clearly be heard in the Caprices (particularly in the second, If I recall correctly)

 

 

 

 

 

You've got mail.

Archived

This topic is now archived and is closed to further replies.

×
×
  • Create New...