Comments on: Shifting emotions http://www.sequenza21.com/dillon/?p=744 an infinite number of curves Sun, 19 May 2013 01:39:46 +0000 hourly 1 http://wordpress.org/?v=3.3.2 By: Judith L. Zaimont http://www.sequenza21.com/dillon/?p=744&cpage=1#comment-1380 Judith L. Zaimont Tue, 06 Apr 2010 16:04:59 +0000 http://www.sequenza21.com/dillon/?p=744#comment-1380 I've always thought that the composerly composer is one who is highly interested in just what you write about -- transitions. We all have privately-held mental lists of those spots we consider great/arresting moments, drawn from many pieces. But the composerly composer notes not just when the hairs on our necks stand up but *why* -- that is, how is the moment prepared, ushered in, perhaps delayed in its arrival. Would that moment be as special if it were the first sound in the piece? The wonderfulness of those moments comes from the skill and imagination in engineering the preparation for that moment, as well as the moment itself. I’ve always thought that the composerly composer is one who is highly interested in just what you write about — transitions.

We all have privately-held mental lists of those spots we consider great/arresting moments, drawn from many pieces. But the composerly composer notes not just when the hairs on our necks stand up but *why* — that is, how is the moment prepared, ushered in, perhaps delayed in its arrival. Would that moment be as special if it were the first sound in the piece?

The wonderfulness of those moments comes from the skill and imagination in engineering the preparation for that moment, as well as the moment itself.

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