Dear Kejero,
Music is a language, and rather than composing a one-sided musical “speech” to perform to the audience, my suggestion DADZ effect is precisely to make it a dialogue between the composer and the hero’s moves and locations.
A church maestro would watch the door until the bride arrives and gestures to begin playing the march.
Some brides are slower than others, or a tangled dress could cause a delay. When the bride reaches a certain place her father takes her hand and walks with her for a couple of meters and the maestro watching that adds a flute to the organ. When the father hands over the bride to the groom, drums join in the march and some high pitched instrument is included to add a sprinkle of joy. <img src="/ubbthreads/images/graemlins/smile.gif" alt="" />
When the bride and groom reach the priest, the maestro stops playing to allow the man to talk and be heard.
The music here is interactive with what is happening in time, but what is being played is strictly from the music sheets.
A very talented keyboard-player rehearsing on stage saw the director and his girlfriend coming through the door and he played a cheerful welcome instantly creative piece of inspiration. When the director and his girlfriend took seats at the middle of the theatre audience hall, the musician thought it would be clever and a nice gesture to play some soft music from Mozart. Suddenly he saw the director’s wife at the door and thought he should give him a warning, so he switched to a Beethoven [Ta.Ta.Ta.-Taaaa][Ta.Ta.Ta.-Taaaa]. <img src="/ubbthreads/images/graemlins/smile.gif" alt="" />
The importance here is choosing what he played but most importantly is “WHEN” he took that decision and executed it and in response to what.
During this performance his keyboard was set to play a looping rhythm that meets the music he plays, he injects intros, breaks and terminations at his leisure. He plays well known sheet-music at his preferred pace and strength. How can any of that, be limiting? It is a dialog between a music player and situations.
I have attended some fantastic concerts in which there were themes of instrumental dialogs where an instrument player would improvise a score of measures and then another player would respond to it by yet another improvised score of measures. It was entertaining and occasionally hilarious.
My advice is to not condemn an artistic style before having the experience in reality, because imagination will never cut it.
Kind regards.
