However, every time I think I’ve got this thing down, it spins off in another direction, so we’ll see how it works out. But I think I have some structure to the gap between The Big 32-Measure Glop of Niceness and The Lead-In I Whipped Up For It now. I’m concerned that it’s going to end up with a very similar structure to a previous piece, and I’m warring between wanting to get used to this structure and my own internal drive to do something different each time.
Then again, most of the really good composers of the past had no problem using the same structures over and over, like a three- or four-movement sonata or symphony, for example. Structures are used over and over because they work, and they give the composer a framework off of which ideas can be suspended. We don’t invent new parts of speech when we talk or new sentence structures. We’ve got one phrase type in English (and in most languages), and it surfaces in multiple ways. However, it’s the same phrase structure underlying the whole thing.
There’s a fine balance to strike between new ways of saying things, and new things to say. There’s no need to come up with new grammatical structures or new parts of speech to say new things. I need to keep reminding myself of that.
Next thing I do, I want a pretty discrete emotional message in it. And, as I’ve stated before, I want off of the damned black keys.