If composers feel that their 作品 is 不 quite right they often rush in to add more and more 声

But is that sensible? What if the 作品 requires greater 空间 and fewer 声

Sometimes taking 声 away can be a better 作曲 选择 Leaving behind only the very best 观念

How much is too much?
Knowing how many 声 you should have in a 作品 can be a difficult thing to judge It will relate to 观念 of 音色 / 声波 品质 密度 and Dis order

Sometimes it is desirable to have a large collection of 声

Many 声 blend together
In this clip there is a 定义 目的 to 创作 a highly dense and chaotic 声波 mass out of many layers of gestural 材料

BUT as we discussed when investigating 静 situations of 对比 can often add to the 影响 of significant events 制作 them seem even more impressive

静 before or after 声 makes them stand out

Spaces allow 声 to stand out
In this clip the 声 are followed by 静 This makes them stand out while the 声 in the previous 例如 were swallowed up and lost in the crowd of many 声

Change and Stasis
Paradoxically having a great many things happen all the 时间 quickly becomes boring Even though many things are happening it becomes the normal state and our 脑 begins to 曲调 all of the 活动 out

Our brains are designed to 点 changes and differences and they adapt to ‘tune out’ anything 持续

For 例如 think about visiting someone who lives near to a busy road or railway line At first you may be very aware of the 噪 from the traffic on the road and rails but gradually your 耳 will zone out and forget them

Now because this is the way that our brains 作品 we can’t simply change it overnight
But we can 用 it to our advantage when 思考 about 制作 樂/乐 with 声

作曲 Tip
As explored previously 质地（纹理、织体） often impart the 印象 of stasis while gestures give the 印象 of a clear forward 运动

BUT if you have too many gestures in too little a 空间 then you end up 创作 a 质地（纹理、织体） 听 again to the 例如 above where many voice 录音 are 合并 together

对比 in Composition
The 对比 between less and more can be highly 强大 in 樂/乐 Both as an idea for 结构 作品 and in 术语 of 创作 smaller scale gestures

This change between moments is the very 基础 for the dramatic 流 of a 作品 and thus is very 重要 in 制作 the 听众 经验 the 旅程 of the 作品

Therefore it can be just as 重要 to
remove 声

to drop 声 in volume

to 滤器 and remove portions of 声

as it can be to add new 声 into a 作品

Minimalism as a Guide
观念 from minimalism can be very useful in reigning us in Helping us to 创作 作品 that 探索 and develop our 作曲 观念 to their fullest extent

By fully developing and exploring only a few 观念 it is 可能 to 创作 the best and most coherent 作品 作品 that constantly introduce new 观念 soon become confused and boring 持续 change quickly becomes a static boring 模式

“To focus on a one good idea is often more better than using a collection of many average 观念 ”

作曲 Tip
Simple boundaries can help you to focus your 作曲 过程 and encourage you to develop 观念 and 材料 to the fullest extent

限制 yourself to using only a select 数 of 原始/原创 声

限制 yourself to using only a few 种类 of 处理

make a 作品 that uses 声 only from a 特定 位置 or 活动

Focus and fully develop one simple 作曲 idea