At the first sight this heading may appear as a joke, yet actually it is a real subject heading of the Library of Congress classification system. The honorary method fatured under that class is the one cited bellow.
the improviser's bass method pdf 19
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Ulrich Konrad, an expert on the sketches,[2] describes a well-worked-out system of sketching that Mozart used, based on examination of the surviving documents. Typically the most "primitive" sketches are in casual handwriting, and give just snippets of music. More advanced sketches cover the most salient musical lines (the melody line, and often the bass), leaving other lines to fill in later. The so-called "draft score" was one in an advanced enough state for Mozart to consider it complete, and therefore enter it (after 1784) into the personal catalog that he called Verzeichnüss aller meiner Werke ("Catalog of all my works"). However, the draft score did not include all of the notes: it remained to flesh out the internal voices, filling out the harmony. These were added to create the completed score, which appeared in a highly legible hand.[3]
An important source for earlier conceptions concerning Mozart's composition method was the work of the early 19th century publisher Friedrich Rochlitz. He propagated anecdotes about Mozart that were long assumed authentic, but with more recent research are now widely doubted.[24] Among other things, Rochlitz published a letter,[25] purporting to be by Mozart but now considered fraudulent,[26] concerning his method of composition. This letter was taken as evidence concerning two points considered dubious by modern scholars. One is the idea that Mozart composed in a kind of passive mental process, letting the ideas simply come to him:
All this fires my soul, and provided I am not disturbed, my subject enlarges itself, becomes methodized and defined, and the whole, though it be long, stands almost finished and complete in my mind, so that I can survey it, like a fine picture or a beautiful statue, at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once... When I proceed to write down my ideas, I take out of the bag of my memory, if I may use that phrase, what has previously been collected into it, in the way I have mentioned. For this reason, the committing to paper is done quickly enough, for everything is, as I said before, already finished; and it rarely differs on paper from what it was in my imagination.
Here are some guidelines for the composition.1) Make a 12x12 matrix based on your row, as demonstrated in class and in the handout. This will be your source material for pitch choices.2) Once you have made the matrix, make all pitch choices by reading horizontally or vertically (backward or forward, up or down) through the matrix. Use one entire version of the row before going on to another.3) Only one note at a time per hand is allowed, as in a Bach two-part invention. If you want to express a "harmony" (the impression of a vertical sonority of simultaneous pitches), you can express it melodically the way Bach did, by thinking of the melody as an "arpeggiation" outlining the intended harmony.4) You may use a two-note trill or tremolo to convey the impression of simultaneity if you'd like and if it's appropriate in your piece, but in general you should not use other sorts of repetitive figures (such as Alberti bass, for example, or ostinato).5) You may either use a single version of the row to make pitch choices for both voices, or you may use two simultaneous versions of the row, one for each voice. In either case, the ordering of the pitches' occurrence must be maintained.6) Some brief tonal implications will naturally occur. However, I recommend not going out of your way to make the music sound tonal. Instead, focus on particular intervals and note groups that occur in the row, and emphasize those.7) Use other aspects of the music besides pitch classes to give the piece coherency: rhythm, dynamics, register, and motive.8) As in Bach's inventions, imitation between the two voices might help give coherency to the piece. Imitation or not, some recurring motive of rhythmic pattern and/or melodic contour will probably be helpful.9) Be sure to include tempo marking(s), dynamics, articulation, pedaling, etc. Those will be important for expressing the music fully.10) Compose a piece that you can perform well yourself(!). 2ff7e9595c
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