Imagine a storm. Dark clouds and dark winds gathering over the horizon. Screams and turmoil everywhere. Still, you have time for a melody. You take your partner's hand and run. Romance. Heroism in hope.
In such a stark situation, hope is the melody.
Imagine all these elements - storm, dismay, winds, terror and hope and faith in a four minute musical piece.
Such is the power of Johann Adolf Hasse's first movement of sinfonia in g minor.
Those who know about musical theory would find this an example of 'counterpoint'.
But you can know the same through listening and imagination.
Enjoy this fiery music, then note the paragraph below.
(From start till the four minute mark or so)
Musical expression does not mean we defeat melody to focus on the mood.
That would mean copping out of creating music that moves and affects the listeners.
Even storms can be melodious.
I hope to illustrate this in future articles - how the creators of 'stormy' music used melody, and how modern music has abandoned/diluted this seemingly difficult task.
In such a stark situation, hope is the melody.
Imagine all these elements - storm, dismay, winds, terror and hope and faith in a four minute musical piece.
Such is the power of Johann Adolf Hasse's first movement of sinfonia in g minor.
Those who know about musical theory would find this an example of 'counterpoint'.
But you can know the same through listening and imagination.
Enjoy this fiery music, then note the paragraph below.
(From start till the four minute mark or so)
Musical expression does not mean we defeat melody to focus on the mood.
That would mean copping out of creating music that moves and affects the listeners.
Even storms can be melodious.
I hope to illustrate this in future articles - how the creators of 'stormy' music used melody, and how modern music has abandoned/diluted this seemingly difficult task.
