The things you write me
I really enjoyed your website, you give really good advice. Thank you for these excellent tips!
- Valérie D., Canada
It has a lot of practical common sense advice that one does not always hear. I was lucky to study
composition with another wonderful composer who was very helpful with practical advice. I think your
students were lucky to meet you.
- David A., USA
I have reviewed your paper "Chords". This is an excellent paper for those teaching harmonic theory
and chord construction. I must also say that your format is very good and of moderate difficulty for the
advanced student of music harmony.
- Don R., USA
Delighted I found your site tonight. I greatly admire the spirit it was written in. Great advice and inspiration.
- Gary G., USA
I'm a composer and music teacher, and I'm not going to ask you to listen to my work or
ask for lessons! I am simply writing to say thank you for posting such honest Do's and Don'ts for composers.
- Travis Ramsey, USA.
Kenmore Studios
Congratulations on your website. The information there is invaluable,
even though people might not realize that at a first glance.
- Ayrton F., Brazil
Your website has inspired me & I wanted to thank you. The Do's and Don'ts for composers
was exactly what I was searching for.
- Karl W., USA
I have found it (the Dutch version of the website) much better than the resources which are
available on the internet in English or German.
- Emily C.-R., USA/Germany
It is great. Everything I would have said to composers, and everything I would like to hear. Like reading
my own mind. Not many composers tend to share that much.
- Ivan J., Russia
I found it very useful. Thank you so much for taking the time to make it so resourceful.
- Tonya C., USA
Your Do's and Don'ts is right on the dot!
- John C., USA
I must say, you are a breath of fresh air.
- Zay S., USA
Album review by Zay David Sevier, PhD
Content is a collection of pieces, 100 in all, which were written by Rowy in conjunction with six lectures on music composition. The following comments are my own observations on the works, colored by my personal tastes.
Any group of pieces this extensive will necessarily include some works that are acceptable, lie well on the ear, but are not outstanding. Then there will be those which sound like the composer had a blank sheet of paper to fill up with notes, and proceeded to do so. Finally there are gems - pieces of music that are outstanding, sometimes exciting, sometimes making your hair stand on end, sometimes quietly touching your heart. Most of the pieces are in this latter group.
Some of these pieces are exercises in counterpoint (number 97, Allegretto misurato is a skillful example). There are a few which don't seem to go anywhere, even after a promising start: No. 32 and 40 are two examples.
But I count among the gems the following: Number 2, number 4 (Tempo di Marcia - very appealing bass figure is the harmonic basis for interesting thematic motives that are developed by clever sequences), numbers 12 (The Steam Train will knock you down), 13 (lovely cantabile melody), 14, and 21 (my personal favorite).
Also number 23, The Four Seasons - Spring Forest. This is one of the best of the collection. The Alberti-like figure in the bass weaves this piece into a charming tapestry in which everything comes together. Then there are number 26 and number 29 (with its interesting recurring motive from measure two). Number 30 is enlivened by the ostinato treatment of the structural bass. Then one of the four or five most appealing works in this collection, number 31 Andantino affettuoso, a song without words in which the harmonic scheme in the bass supports an exquisite melody.
I must mention some of the other gems included here: numbers 50, 53 (another of the Four Seasons), 54, 55, 59, 62, 65 (there's a good exercise for the Right Hand), 66, 67, and 70 (Andante esaltato: The Four Seasons - Summer Forest. After the sequential statement of the thematic material in measure 13, the melody just continues to unfold to the end. Very effective).
Owing to lack of space I have omitted comments on some of the best works in the collection, like number 76 and 77 (Wild Horses), number 78, the Italian melody of number 80, and the charming number 99, Allegretto calmo.
A final note: If you don't have it, get the collection. Anyone who has this collection of music can consider himself very fortunate. He will have under his hands some of the most appealing compositions it has been my privilege to hear.
Zay David Sevier, PhD
Zay Sevier Piano Studios, Greensboro, NC, USA
Former Assistant Professor of Music, The Ohio State University