22nd April 2006 - Phil Hughes

 

17th April 2006 - Phil Hughes

I've started on a new tune, looking at the words of "Hallelujah! Sing to Jesus" (87.87D). I hope to have this complete and posted in good time for Ascension Day. In this piece, I'm trying to explore stronger rhythmic underpinnings and simper melodic lines than we're used to in hymns. I don't mean Jazz or Blues here - simply a rhythmic figure which I hope will provide a good grounding for the tune and the words...

12th April 2006 - Phil Hughes

I've been thinking for some time, that all of the compositional tools that I've used over the years have all focussed on automating musical notation. My favourite Sibelius (4) is very good and versatile at this.

However, as a scientist and engineer by profession, it strikes me that notation is only a very basic need to assist the creative process. [Yes, like composing music, doing science and engineering design are also creative processes! merely drawing on different aspects of being human. ("1% inspiration, 99% perspiration")] In software design, an editor is a useful tool, but is supplemented by tools which allow the visulatisation and manipulation of higher-level concepts - e.g. a "class" or module or instance of a class, or in engineering a structure (bridge etc.).

We don't seem to have the same in musical "design".

I'm thinking about a higher-level score design tool which would support the concept of "melody", "phrase", "verse", etc. and allow these to be treated as first-class entities with ordering (in time/sequence etc.) properties as well as realisation properties - such as dynamics, instumentation etc. Once a composer has built an abstract structure - he/she can then realise it in a score-form - potentially in several different concrete forms. (Rather like a C program being compiled to several differing target binaries.) I wonder if the team at Sibelius have any idea what I'm going on about!?...