Laban named the combination of the first three categories (space, weight,
and time) the effort actions, or action drive. Flow, on the other hand, is
responsible for the continuousness or ongoingness of motions. Without any
flow effort, movement must be contained in a single initiation and action,
which is why there are specific names for the flowless action configurations
of effort. In general, it is very difficult to remove Flow from much movement,
and so a full analysis of effort typically needs to go beyond the effort actions.So, how does this all relate to composing music? Read on.Weight: heavy versus light ................................................................
The ideas of heavinessand lightnessare easy enough to translate into musical
terms. Something light is usually played softly or gently. Often light, melodic
phrases are played by instruments with higher pitch ranges, but not always.
A French horn can be played lightly or heavily in the low register, for example.Light and heavy are also related to loud and soft. You might feel like a minor
melody at a slow tempo is heavy by nature, but slow pieces in minor keys can
have either light or heavy qualities. We are talking about light or heavy — not
light or dark. With strings, light and heavy can be communicated through
bowing. The specific articulations of other instruments convey light and
heavy also.Light and heavy can be expressed through choices of instrumentation as
well. A violin or flute is inherently lighter than a saxophone or a trumpet. A
string quartet may be lighter than a brass ensemble. Of course the composer
can control a wide range of weights within any of these instruments or instru-
ment groupings.Time: Sustained and staccato ...........................................................
Laban’s terms sustained and staccato mean almost the same things as the
musical terms legatoand staccato, but the musical terms refer more exactly
to the general perceived flow of a melody. The notes may not be written
exactly with legato or staccato indications in the sheet music. They may just
come across as more or less smooth and connected or separated and quick.
Writing indications in the actual sheet music works, too, but you don’t always
have to go to this extreme to get the feeling across.128 Part III: Harmony and Structure
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