glenn wrote:The last 50-60 years, "process" music has become quite common. First with total serialism, and then, with minimalism, process music went mainstream. Probably a majority of the composers I meet use some sort of process to generate their music. Some are mathematical, some are not so much. They all use some sort of formula. The best use their process to generate material or a "first draft" and then use their intuition and technique to shape the result into a musical work. I have used processes for most of my career. In a sense, using improvisation as a first draft is also a process, albeit a rather organic one. At some point, all composition is a process of some sort: Bach, Beethoven, Chopin, whatever. The real art comes in molding the music. Be mindful of some of the reservations I expressed concerning timing and momentum. If these are "process" errors, they need to be refined.
Yes this is true, *however* the process I've invented is extremely powerful. To my knowledge, my technique has never been used before 2009 - I'm still stunned that it hasn't, but I've been searching for 2 years and yet to find any evidence.
glenn wrote:How to make a living is the cross all composers bare. Most make their living by playing, teaching, copying, or even administrating. Very few make a living composing. What you are doing online is really no different than teaching private lessons or classes. You might make more if you actually give advise online, sort of a virtual master class. You have a right to charge what the market will bare. Good luck.
Well yeah I've written a guide to my technique in the forum, but you still seem to be missing the point. Don't assume that every composition method has already been discovered, and don't assume that some composition methods aren't very powerful indeed.
Sorry if I'm being slightly abrupt, it's just that I stumbled on this technique purely by chance, spent the last 2 years developing it, spent the last week or two working flat out on a clear and easy to read guide, and you dismiss it as though it's nearly worthless even though you have no idea what the technique is (!).
I've offered you a completely free forum invite which won't be available in about a week's time, I'm puzzled why you are resistant to take up the offer?
glenn wrote: The generation process is not particularly important, except if it LIMITS you musically.
The process doesn't provide any limitations in practice, and you'll change your mind completely about it not being important once you read about the technique.
glenn wrote: What I have found with processes is that they tend to have boundaries within which they normally operate. After a while, those boundaries become tedious to even non-musicians. If you can use your process to generate creative OPPORTUNITY, you will be alright. But be careful, as you seem to be falling into a bit of a rut. It is best not to take your processes too seriously. Keep at it, you have obvious talent and enthusiasm.
I'm not saying any more about the technique now Glenn, it's your loss if you don't take up a very generous free invite.