Symphony V Phase 2

Hello and welcome to Phase 2 of Symphony V. With the first phase complete, I am updating you with a finalized idea of what the second phase of this project will be.

Starting on April 9th I began composing 14 melodies, one melody per day. Each was a minute long and used a different time and key signature. 

In a slight change from my original concept, I am going to take the 14 melodies and combine them into 4 symphonies. The symphony groupings were chosen using a random number generator to keep things impartial. 

I will compose each symphony within 7 days, dynamics and all.  Each symphony will be approximately 5-10 minutes long.  The melody groupings are as follows:

Symphony 1: Melodies 7, 10, 1

Symphony 2: Melodies 14,11, 13

Symphony 3: Melodies 8, 9, 12, 2

Symphony 4: Melodies 5, 4, 3, 6

I will be keeping a daily blog post during the composition of each symphony.  On the seventh day I will post an audio clip along with the score so that anyone interested may critique each piece.

My goal, once the symphonies are completed, is to start the process of finding musicians to help me bring these symphonies to reality.  Anyone interested is welcome to contact me at mccombsignature@gmail.com.

Thank you for your interest and time!

-Wes

Melody #14 - Final Melody for Symphony V

Greetings!  Tonight is the final night for the melody compositions for Symphony V.  I hope everyone has enjoyed listening and I would greatly appreciate feedback on the melodies listed in this blog.

I have decided to change this project up a little since the start of Symphony V.  Starting April 30th, 2012 I will begin composing 1 out of 4 symphonies, each utilizing 3 melodies from this project.  Each symphony will be between 5-10 minutes long, use 3 out of the 14 melodies and not repeat melodies within the other symphonies, and I am planning to compose each symphony in 7 days.  During this process I will be blogging a 1 to 2 paragraph post every night.  On the 7th night, I plan to post the completed symphony with score and audio file.

With that being said, I would like to talk a little about tonights melody.

When listening to this melody I hear a full men's chorus performing in vocalese.  Performing in vocalese is the singing of a melody with the use of syllables instead of words.  In my opinion, the best way to write for a chorus when composing a symphony is to use vocalese instead of using a poem or any words.  This helps with building emotion when needed and provides a smoother sounding piece, rather than leaving the audience guessing what the chorus is actually singing.

Do you hear a men's chorus for this melody?  If not, what do you feel best suits this melody?

-Wes

Melody #13

Hello everyone and welcome to Melody #13.

I have started to notice that when I compose without my piano, my compositions feel more productive and sound like they have a better structure.  With that being said, I would also like to point out that with yesterdays post on the "bag of tricks", a composer should also feel comfortable with a main instrument.  The reason I say this is because with having a main instrument you cannot only play your part within your composition, you can also have a better understanding on how to structure the other instruments within your composition.  My instrument of choice is the piano even though I have only been playing it for 10 years.

Please feel free to comment and critique any of these pieces with my blog.  Since I am nearing the end of the melody compositions, I would greatly appreciate any form of criticism so that I can better the symphony piece that I will begin composing in a week from tomorrow.

I hope you all enjoy tonights melody!

-Wes

Melody #12

Hello everyone!  I bring to you Melody #12.

I have been told that composers carry around a "bag of tricks" when it comes to their compositions.  I have never really understood that term until this project.  In my opinion, this "bag of tricks" implies a composers use of previous measures to help them get past either a rough spot, writers block, or to change up the piece that they are working on.  A composer develops these technique through the knowledge of music theory and practice.

For those of you following this blog that are musicians, composers, both, or interested in starting to learn music, please take music theory seriously.  I know from experience that it can be the most boring subject, but in the long run whether you are a composer or performer it will save you.

Tomorrow nights melody may come a little late like tonights because I have family from Iowa staying this weekend.

I hope you enjoy tonights melody.

-Wes

Melody #11

Tonight I bring you Melody #11.  This piece has inspired tonights post to talk a little about emotions with music.  Melody #11, in my mind is comforting and optimistic, unlike a few of my other melodies that are minor and sound like they have no hope for the future.  One might say that a piece that is optimistic is more creatively inspiring than a minor piece.  I, however, feel that inspiration comes during any emotion whether it is happy or sad.  Creativity and inspiration are just amazing things that come at the best or most inconvenient time, but are welcome no matter the circumstance.

We have 3 melodies left and then it will be time for the symphony composition.  Originally I had stated that I would choose the top rated melodies to compose the symphony with.  I have now changed this to a random drawing of 5 melodies.  I am going to have a friend put paper with numbers 1-14 in a hat and draw 5.  I will then take those 5 melodies and compose an approximately 10-15 minute symphony that is based entirely around those melodies.

If you have any suggestions on certain instruments that should be in this symphony, please feel free to comment that instrument on this post.

I hope you enjoy tonights melody and I hope that you have enjoyed this project so far.

-Wes

Melody #10

Good evening everyone! I release to you Melody #10! This melody was a bit of a challenge in the fact that I am trying to compose every one of the 14 melodies in a different key and time signature as well as keeping everyone of them from sounding the same.

Unlike last nights post, where I felt that the piano deserved to solo the melody, tonights post (in my eyes) is worthy of a full symphony performance for the melody.  Almost a large, drawn out, majestic sound.

Let me know what you think!

-Wes

Melody #9

Amazingly tonights melody really just rolled out of my head, almost like it was meant to be a melody (which it now is).  Even though this piece felt like it was meant to be, the image that I received from the piece was quite different.  Instead of seeing a scene or image, I continue to hear the symphony backing this melody.  Almost as though piano is meant to solo this melody.

On a different note, one thing I am beginning to understand during this project is that if you do not see an image and are use to seeing one, do not force the image.  This piece is a prime example on why a composer should not force something they are use to seeing, if it is not being shown to them.  Instead, sit back and listen to the piece a few times.  Eventually the image will produce, whether it be audio or visual.  Tonights image came in the form of a completed symphony for me.

I hope you enjoy this melody and please feel free to comment and critique this or any of the other melodies.

Thank you,

-Wes