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Texture through Voices
Musical textures are also sometimes described as being the ways in which the various voices are combined to create a harmony. A string quartet, for instance, has a particular texture to its sound that is derived from the way the various instruments combine and contrast. This also applies to the way that the various voices are combined in vocal ensembles and any other ensemble performance. A woodwind quartet, for instance, may have a very smooth and light texture, while a brass band would have a forceful, brassy texture.
Expression, Dynamics, Style, Tempo and Phrasing
Expression is not just an important part of music, it’s oftentimes the entire point of performing or composing piece. The expressiveness of the musicians in an orchestra, the members of a band or any other group of performers does depend on them having a general structure from which to work. Improvisation is an important element in jazz, rock, blues and many other forms of music, but expression can also be defined and communicated to musicians in ensembles by describing the elements of music that are most conducive to expression.
Listen to your song in performance. Remember that, as Stravinsky said, art is never really finished, it’s just abandoned at some point. That being said, hearing your song for the first time doesn’t mean that you’re done with it. You have to do some critical listening and, if you can, lean on friends or your teachers to give you feedback.
Listen to see if the song really matches with the genre. In some cases, you may hear mistakes that you didn’t know were there. In other cases, you may notice that mistakes you were aware of sound great. Keep an open mind and try to listen to the song as if you’ve never heard it before. Concentrating on your mistakes will not help you refine the song; it will discourage you.
Mozart, according to legend, wrote in pen and never scratched off one note on his manuscripts. In short, the man never made a mistake when composing. Hardly anyone is like that, however, and most artists do a lot of refining.
After you’ve listened to your piece, concentrate on what you might want to change or leave the same about it. You may want to further develop some themes and you may want to completely abandon others. You may want to transpose the entire melody to a more accessible or agreeable key or you may want to entirely restructure the rhythmic elements of the song. Your song should be thought of as being made out of wet clay, not out of stone. You can refine it as much as you want and, as is the case with all writing, a good portion of writing music is actually rewriting music.
No matter where you are, great music comes in all shapes and sizes. However, for Haynes piccolo or Haynes flute accessories in Michigan, West Bloomfield, or Farmington, look to www.fluteworld.com.