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Thunder Dash's Ultimate Guide to Creating Effective and Vivid Classical Music


Courageous Thunder Dash

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Hey there! Welcome to Thunder Dash's Ultimate Guide to Creating Effective and Vivid Classical Music!

 

In this guide, I will be going over the basics of creating orchestral music according to musical theory and the rules of classical music. Now do understand that many composers these days break the rules in classical music. Please understand that this guide doesn't make you have to follow the rules. The rules are just a mere reference of how to create music that is organized and easy to follow

 

Let's start with one of the most common forms of classical/orchestral music

 

Sonata-Allegro Form

 

The Sonata-Allegro form has been around since the 18th century and is one of the most popular forms of classical music, besides standalone piecces. The sonata form is comprised of 3 movements, each with a specific pattern. We will go over each of these parts seperately. 

 

1. Exposition

The Exposition is the main theme of the current movement. Let's say you're writing a Sonata in the key of C. This part of the sonata will be in the key of C.

 

2. Development

This part of the Sonata is a further expansion of the orginal theme. It usually modulates to the V of the original key, using the V of V. In the case of C Major, the V of V is D. Resolving to the I of V will put us in G major. 

 

3. Recapitulation

This part of the Sonata is the return to the main theme. Like the word says, it "recaps" what the sonata has done through the piece. The transition before the recapitulation returns us back to the main key. In our example, we resolve from G to C.

 

Here's what it looks like visually:

sig-4666722.Simple_sonata_form.png

 

 

Not only do Sonatas have three parts, but also three movements, like I said before. Each movement follows the above format.

 

Sonatas usually start of loud, but not all the time. Take Beethoven's Moonlight Sonata. The loud movement is not until the 3rd and final movement. 

 

Furthermore, the 1st and 3rd movements often reflect each other. The 2nd movement is more often completely different. Returning to the Moonlight Sonata, the 1st and 3rd movements reflect each other due to the fact that the third movement is a more developed and complex version of the first movement with a faster tempo. 

 

Below is the full Moonlight Sonata. Listen out for the Exposition, Development and Recapitulation in the 1st movement

 

 

Next, we're going to shrink down a little into what is called...

 

The Sonatina

 

The Sonatina is basically a "mini sonata". It follows the same exact exposition-development-recapitulation form of the sonata. Nothing else to really explain about this one. 

 

 

Now that we've gotten the bulky stuff out of the way, we can now move on to the standalone classical forms.

 

Standalone classical pieces are known for their individual character. There are many forms, and some of these forms can come together to form what is called a Suite. The forms that can create a Suite are as follows:

 

Gigue

Courante

Gavotte

Allemande

Minuet

 

These forms are also early dance types, each with their own character. For example, a Minuet is an early form of a waltz. From the basics, we know that the waltz is in 3/4 time, meaning 3 beats to a measure and the quarter note gets the beat. Upping the tempo, the Gigue is a faster dance but this time, it's in 6/8. Now, you might say: "Oh 6/8 can be reduced to 3/4! They're exactly the same!" Well you are true in that they're the same, but remember, the minuet always uses 3/4 and the gigue always uses 6/8. A Gavotte is a 4/4 dance that uses much staccato or detached rhythms. Gavottes in the baroque period were often played on the harpsichord. If you listen to some of the music of MLP:FIM where Canterlot is featured, or Rarity, you can hear a Gavotte-like style. Though it was full of staccato rhythms, the gavotte is quite an elegant dance.

 

Moving on past the dances, we arrive at two very techincal styles of classical music: The Toccata and Fugue. Now if you're a musician and you hear those two words, this piece right here comes to your mind right away:

 

 

The Toccata is a very fast moving piece, and it promotes the dexterity of the performer. When writing a Toccata, be sure not to push too far. Don't make it impossible just because. Make it reasonable. Another thing, make sure your notes match up to each other.

 

The Fugue is more complex than a Toccata. It does focus on dexterity and touch like the Toccata, but it has multiple voices. Most fugues have two parts, one for the right hand and the other for the left hand. However, some fugues have 4 voices, which are very tricky to play. You've got two parts per hand. These fugues usually stack up on voices. They start in the bass and increase to treble. It's like SATB (Soprano Alto Tenor Bass) form. When writing a fugue with more than 2 parts, be sure your notes harmonize with each other. 

 

Here's an example of a two-voice fugue

 

 

 

Well, you may be overwhelmed with all the information in this guide so far. This thread will be updated in the upcoming days with extra form, until then, happy composing!

Edited by C. Thunder Dash
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