Most compositional questions do not have definitive answers. Each composition constitutes a proposal for an answer. Nor is there a definite course of action that could be advocated for sure. On the other hand, for the composer it is important to be aware of the problems he will encounter and the range of possible choices. It is important to know the nature of the territory on which it evolves, in order to avoid getting lost, to go around in circles, to be blocked by prejudices or preconceptions. It is an essential prerequisite for, ultimately, enjoying the best of his freedom.
Composition is a huge field. Many of the topics covered in this book could easily be devoted to an entire volume. But, before deepening some of them, the composer gains to have a global vision of the subject that is, as much as possible, detached from all a priori stylistic. This is what the author has tried to propose in this book.
In addition, issues relating to composition respond to each other, interfere with each other, impinge on one another and do not lend themselves to structured presentation in a logical and progressive way. Hence the choice of the Abécédaire, voluntarily subjective form, in which each entry projects a different lighting, some intersecting sometimes. But who in the end should give the reader an idea of \u200b\u200bthe most faithful subject possible.
It should be considered as a viaticum that the composer takes with him on his musical journey so as to be able to consult him when he is blocked, when he has doubts about the direction to take, or simply when he wants to have a overview of the possibilities available to him.