Happy Friday music nerds!
I hope you’re enjoying the beginning of freedom, for the next 48 hours! Welcome to ‘Part II’ of my little series that I put together, to show you how I like to add contrast in a piece, and some of the different ways I usually develop my themes. Since part one, I have moved the main theme across to the brass and strings, in addition to finally adding the chords progression in the cellos, which I did because there’s just something about low sounding strings that can give the nicest atmosphere, and help make those chords a little more meaningful. There’s also a little surprise in the fuller repeat of the theme but let’s see if you can guess what it is before you hear it:
Creating The Contrast…And Development!
While this has only been a simple unmixed development of the same theme, it serves as an example of how one might wish to take an idea to the next level, without changing it too much, providing contrast rather than development at this stage (other than the introduction of the chords…). The nice thing is that, even with filling out the theme across the orchestra, there is still ample space for rhythm, harmony and counter-melodies, as well as perhaps introducing a new piece of music to really round out the piece and move away from always repeating the same theme.
Sometimes this can be achieved by making a development on the same chord progression, which gives the illusion of sounding like the original piece albeit with a new melody over the top of them. As always I like to show my musical ‘scribblings’ without mixing and producing them too much so that you can hear precisely how I work from start to finish, so for the 3rd and final piece you will hear this piece completed potentially with altered parts that I shall happily explain, along with (hopefully) an enjoyable ending with a better, more finished mix so until the end, enjoy the beginning and middle, for who knows, next time you may not recognise it 😉
May the flute forever warm your souls!