Learn to Compose Music in One Easy Lesson

Before reaching into my bag of musical tricks--both ethereal and autobiographical--I have already cleared away the various manuscripts and guidebooks which purport to lead the way toward the technical aspects of being a musician.

In their place I've set before me a fine replica of a brooding Indian chief presented as a carved wooden statue.

This is a good example of using one work of art to create another work of art.

Because the carved features of the noble Indian convey a strong sense of emotion, I can interpret this emotion into musical form.

I can summon forth my own extemporaneous and autobiographical inclinations and, by looking deep into the wooden Indian's face, I can channel the eruptions of sparkling human significance into musical chords and melodic sequences.

Again, one work of art helps to create another one.

Musical Translations of Shadow and Light

Going beyond the generalized emotions of the Indian chief's solemn dignity, I can make use of these carved features in my musical composition in a more literal way.

For example, shouldn't I allow the darker shades of the Indian chief's face to correspond with the lower and darker sounds of the piano?

Likewise, shouldn't the glimmer of optimism which shows in the prominent cheekbones of this noble Indian be used to create higher and more beautiful musical sounds?

The dynamics of musical composition--that is, the loudness or softness of the melody--can also be influenced by the emotions of the Indian's features. What is he telling me with his eyes? Is he angry or sad?

The silent Indian chief, in fact, can be seen as the actual composer of the music. I only have to allow these embodied feelings, these translations of shadow and light to flow through my fingers.

In sum, learning to compose music can be easy once I sweep aside the technical guidebooks and learn to use one work of art to create another work of art.

By placing the carved statue of the Indian chief in front of me, I can interpret the emotions of this silent Indian into musical form.

Composing music also requires me to look into my own human face and translate those autobiographical sensibilities into the honest self-reflection of which my Indian chief musical partner would be proud.

Source: Personal experience