Q&A: What are ways to show undying love in a piano composition?

Posted by admin | Posted in Love | Posted on 24-06-2012-05-2008

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Question by : What are ways to show undying love in a piano composition?
I’m composing a multi-movement work for the piano, and am stuck with the 2nd movement. I want it to convey undying love, or even love in general. (romantic love not family love or brotherly love) I can’t even come up with a melody. Are there any keys that would help make it work? Or even would a mood piece with no melody work. It doesn’t have to be any longer than 3 minutes. I just am not sure what to do for this situation.

Best answer:

Answer by RMG09 Guardian
Here. Learned this in history yesterday. Man named Berlioz, wrote a symphony about a woman he was obsessed with, and ended up making a story where he killed her. He didn’t really kill her, but, the indee fix tells of how he did.

Listen to this.

Edit: Sorry, I also meant to give you the symphony name. It’s Fantastique, Berlioz. That’s the one that tells the love story.

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Comments posted (1)

That’s great, except the first time out, at its premiere, when it flopped, Berlioz’ Symphonie Fantastique had No Programmatic Story attached to it. It was just a ‘fantastic’ i.e. fantasy / phantasm symphony without story.

Berlioz revised it, slightly, and then pandering to a fashionable trend (Program ) slapped the program on which is now associated with it. It seemed to help the punters, because the second time out it was a smash success. The story AFTER THE FACT of the initial composition, and having nothing to do with the piece at all.

So much for conveying anything emotionally or literally specific through the medium of abstract . (… which is very unpopular with tweens, sentimentalist amateur players and listeners. — The ‘ tells a story’ so many were taught Is An Analogy, not to be taken literally. It is used to help convey the idea that has a ‘vocabulary,’ ‘syntax,’ a ‘grammar’ even, and can give a feeling of a meaningful narrative, though none of it can be translated to words in any language. It is mostly used before students can grasp the concept of form, to give them the notion has form.

It is , not an actual ‘language.’

There are some ‘average’ emotional reactions to certain pieces, since has a tremendous power to evoke emotion in us when we hear it. You might decide which pieces, particular movements, do this for you and then sit down and analyze, musically and psychologically, why they work on you that way. There is / are your model(s).

Often, a text, a poem, or some specific literal program can help you find your way to the ‘timbre’ and shape of the overall movement: you can have it as a personal ‘trigger’ without every setting it as a thing to be sung, or ever making public the text you worked from. Many a young composer turns to text, or song, to help them find their way, in both ‘finding the right notes’ and finding some form if they are not yet practiced in forms.

Tchaikovsky’s Concert Overture, Romeo and Juliet is more than successful in conveying a heated and passionate love which also includes the physical and intimate passions: it had not been done to such an open extreme before, so radical when it was new, and made many an adult feel uncomfortable or embarrassed at the time. Approach with caution. I would maintain you do not need to know it is ‘Romeo and Juliet’ to hear it from the without further association by title, but again, he was a master with more than a knack for that.

Another masterpiece by a composer who used a poem’s narrative as his inspiration is Schoenberg’s late romantic (and very Romantic) Verkl√§rte Nacht, for string sextet. Again, the poem helped the young composer find his way to ‘the right notes’ and to create a through-form. Again, I think the can be taken as fully ‘meaningful’ without knowing the nature of the text which it supposedly illustrates.

Best regards.

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