| Traditional composers can somehow compose | | | | either a boon to the compositional process or a great |
| completely in their head translating what they hear | | | | distraction. The limitless sound sculpting possibilities |
| internally onto paper. Another popular approach is to sit | | | | available can keep a composer sidetracked for years |
| at a piano and pick out melodies, chord progressions | | | | without ever getting any real composing done! |
| and the like, before writing it down. This gives some | | | | Even if you are a computer based composer, or the |
| auditory feedback assisting in the process of | | | | traditional pen and paper based composer, set aside |
| composition for those without the gift of being able to | | | | some time in your musical life to become acquainted |
| fluidly write out what they hear inside their heads. | | | | with a real instrument. Even if drawn to electronic |
| Most composers, especially those in modern times use | | | | music, playing keyboards can be a fruitful endeavor. |
| some kind of instrument to compose with. Often the | | | | Completely programmed music can be tiresome and |
| instrument is used to improvise with until one discovers | | | | devoid of a human element that can be detected. |
| some musical gem that is appealing and worth | | | | Playing sampled instruments authentically on |
| pursuing and developing. Modern music especially in the | | | | keyboards though, takes great programming as well |
| styles of rock, are based largely upon improvisational | | | | as advanced keyboard controller skills. Keep in mind |
| composition. The more fluent one is on their instrument, | | | | one cannot play an authentic cello emulation on a |
| the better as to the results of this approach. | | | | keyboard with normal keyboard playing. |
| The drawbacks of using an instrument are that often | | | | The skill of being able to play real instruments is |
| one develops ruts based upon muscular patterns that | | | | definitely a plus when it comes to music composition. |
| are hard to break. It can be liberating to get away | | | | Emotion is often translated through muscular motion |
| from the composers traditional instrument of choice | | | | whether playing drums, a guitar, or keyboards. These |
| and take up another to mix things up. It can be | | | | physical interactions are authentic expressions of the |
| beneficial for the more instruments one can play, as | | | | emotional aspects of music that can be difficult to |
| different instruments will take the composer down | | | | capture by writing or by software programming alone. |
| different avenues and give one a different view of | | | | Not that all music needs to be based on physical |
| music itself. This can be a good source of inspiration to | | | | expression, but there is a raw emotional energy to be |
| get a composition started. | | | | harnessed from the playing of instruments. |
| The modern composer also has great resources at | | | | If possible join a band and play an instrument within a |
| their fingertips with the computer and software | | | | band setting or play live. Nothing beats actually playing |
| available. Modern sampling technology gives the | | | | with others as far as developing essential skills such as |
| computer based musician practically any sound both | | | | timing, or being able to listen and follow others, thereby |
| real and imagined at their disposal. To get sampled | | | | developing your musical intuitiveness. Aside from these |
| instruments to sound realistic though, takes great skills | | | | tangible benefits is the plus that it's just plain fun playing |
| and command of the software required. This can be | | | | with other musicians! |