Download Fm Theory and Applications By Musicians for Musicians by John Chowning, David Bristow PDF

By John Chowning, David Bristow

Publication by way of Chowning, John, Bristow, David

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So that when they’re on a horizontal line it means: If I choose this then that follows, if I choose this other one then that follows. Usually the top one is the one that’s going to work, and I probably ended up using the E-flat, C-minor, et cetera. I was also screwing around with the melodic outline and deciding whether I wanted to use four sixteenths or an eighth and two sixteenths, and sometimes that makes a huge difference. MH: You asked: How else are you going to notate those chords? But in your mind are you also thinking of it as a modulation to that key?

Clearly, what I’m doing is I’m trying to figure out how to have her sing against the Chopin. Because there are two things going on here: there’s the piano piece and her vocal. That’s what I obviously am trying to work out. Let’s see, we’re in the key of . . we’re sort of in the key of D, but not really. MH: Usually, the audience thinks it’s her playing piano upstairs. SS: I’ve established that earlier, so I know that I want to use that. What goes on before the entrance is that we hear the music earlier.

She often gets a manuscript from me that’s full of erasures. Incidentally, one of the small, practical problems of writing music today is that in the old days I used to have a messenger come to the house and pick up the manuscripts and take them to the copyist. Ever since the fax machine was invented, we send faxes. ” You can read my manuscript okay in person, because I write very heavily with a pencil (and I write also with Blackwing pencils, which smudge very easily). I try to write very dark for the copyist to understand it, hoping that she won’t have to call me.

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