Phantom Flutes

• Jan 15, 2019 - 19:34

To begin, I shall say that I have no formal musical education, and have pursued the art for little over a year. Perhaps this information can be of some explanation to you if there are any glaring flaws in my score. I figured out I could write music with musescore some months ago, I think, and was thrilled to begin composing. This is not my first song, but it is among my most presentable. My general approach to composing involves the matter of simplicity being the ultimate sophistication, although I feel still that my song may lack flavor. I am unfamiliar with a good deal of music terms, to please be kind in using them, (I often find more concise definitions can be delivered by a single sentence than by a wikipedia article of nebulous and abstract terminology.) Any suggestions are greatly appreciated.

What category of song is this? I would say it is simply an arrangement of notes, all it needs to be.

Thank you for your time.


Keep in mind that I am but one observer. I had schoolin' and I taught and managed over the years to forget more than I recall...

You've asked elsewhere if it is "too simple". Not really. If the "melody is interesting." I think so. In fact, I detect a modality, which combined with the rhythms in the central section, recalls in memory an ethnicity I cannot place.
Not at all uninteresting to me. has been suggested elsewhere you learn some tools. That is well said. Many call them rules which suggests an inescapable rigidity. These tools once learned are at your disposal. They will make composition a hell of a lot easier. You were not expected to know them now. It takes time and the journey is supposed to be fun (sort of.) It is during the journey when you find out if you are wasting your time.

Though you may not want to write something in an established form (fugue, sonata, gigue, etc.) it is useful to learn about form itself and how it conveys a musical idea. There is form here, though simple, but adequate. An idea, developed rhythmically and recalled at the end. Fine. Learning form helps you to expand an idea over a larger canvass no matter what form you use or invent.

I find with your orchestration you are trying to express something with color. Interesting combo of low flutes and low double reeds. Okay, now the piece has character.

In an academic setting, though, you will have to defend your unison doublings. In an orchestral setting two bassoons playing at unison is expected for volume and/or its particular sonority. Up close in chamber music, not as much so. (I say "academic". Actually, I had no problem with the heavy sonority in its context.) Over the course of the 20th century doublings became more and more frowned upon. Looking at scores over and over remedies this.

Note spellings will be important. Despite the modal quality you have indicated e-minor. That e flat in bar 8 should be a d#. This is nothing to fret about. You will pick this up if you study in earnest at which time you will appreciate the difference, that is, once you understand the function of notes (and eventually chords) in what we call functional harmony. You can always abandon it at a later time to use, instead, 12-tone, atonal, or whatever, once you've learned how to use the tools.

You should be encouraged. You're starting to "arrange" notes your way. If you study you will get better at it and broaden your audience.

There are too many books to recommend one and there is so much good stuff on YouTube.


In reply to by penne vodka

Thank you very much for your advice. I also was miraculously encouraged, as you may have seen, to pursue further education by one BSG, who has earned my deepest respect. It is certainly nice to hear that you find interest in the doubling, when I think I did it more out of not wanting (or perhaps being unable to envision,) another part for some of the instruments. I think for practicing further, after I learn more theory, of course, I will write for single instruments to focus more on the pith of the music. Again, thank you for your time and invaluable encouragement.

Wishing you and your feline friends well, -Mogan.

P.S. My cat loves to sleep in a cheese box on top of my old bathrobe.

In reply to by Mogan Mogan

Just to be clear ...I just happened to like the sound of the sonority withing the context. Never double because you don't know what to do with another instrument. It's okay for an instrument to be tacit.'ll find this out...when you study theory you'll eventually get to orchestration. The best way to do that is look at scores and see how they did it.


Do you still have an unanswered question? Please log in first to post your question.