| Do you ramble on endlessly with your | | | | point where a composer will add something-new |
| improvisations? If so, good. This has its place in | | | | (contrast) or, if she is smart, end the piece. If the |
| music making and in new age piano playing in | | | | music does not have that freshness, that touch |
| particularly. Just listen to New Age pianist Michael | | | | of inspired in the moment fantasy, you'll be able |
| Jones's music to hear an example of this kind of | | | | to detect and hear it. Some composers are so in |
| free-form improvisation. | | | | touch with their feeling that they can take you on |
| Now, some of you want to create something | | | | a 20 or 30 minute journey using very little means |
| that will give the listener a slightly more cohesive | | | | - but by using the elements of repetition and |
| experience. How is this accomplished? By forming | | | | contrast maintain listener interest. |
| the music into a shape - an ABA shape for our | | | | First, get your "A" section. The first few bars (8 |
| purposes here. To give form to music does not | | | | usually) is more than enough to propel you |
| require as much theory and technique as most | | | | forward. You must adopt a listening attitude to |
| people think. In fact, it is as simple as applying the | | | | hear what is coming next. You don't force nor will |
| principles of repetition and contrast. | | | | it into being. This will not give you what you want, |
| Now in most new age piano music there is some | | | | which is, I'm assuming, inspired content. Listen, |
| kind of form that the composer uses whether it's | | | | listen, listen and the music will come. If it doesn't |
| extended "A" form ala Michael Jones, or extended | | | | just do what Beethoven did. |
| "A" extended "B" and back to "A" again as in | | | | He worked on 3 or 4 pieces at a time. When the |
| some of George Winston's music. Think in | | | | inspiration dried up on a particular piece he was |
| sections people. A section of music can last for as | | | | working on, he just moved on to another and |
| long as the person who created it is involved with | | | | picked up on the others later on. You can do the |
| it- that is, as long as the inspiration is fresh. | | | | same. Be bold and go forward. Don't be afraid of |
| As soon as the music sounds dull it's time for a | | | | making mistakes. Be afraid of not trying. |
| change - the next section of music. This is the | | | | |