 The Clarinet BBoard
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Author: David Pegel
Date: 2002-08-02 01:53
When I was in the 7th grade, I bought a program to write music so I could type out handwritten parts. I did some experimenting as time went on, and in the 8th grade I started writing for full band and orchestra.
Now that I'm a junior in high school, I look back at those times and realize I had to teach myself all the techniques I use now to write by trial and error. For three years I've been "playing around", and now, hopefully before I graduate, I'm about to see how it's paid off and meet the publishers.
At the moment I am trying to write a symphony, modeled after my past year of high school (which was hectic in its own nice ways.) I've had some critics listen to what I've written, people such as good friends in band and orchestra and my directors and lesson instructors, and as a whole all have been really impressed. I've only had one major complaint: "It's simplistic. why can't it be more complex?"
I've been working on development now and would like some advice from any composers how to proceed. Is it okay for symphonies to be simplistic? Also, how can I turn this into an opportunity for a career? I'm sure with some intense college study I could be phenomenal.
How did some composers get THEIR start?
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Author: ron b
Date: 2002-08-02 03:58
From what I've read, most of 'em studied and worked hard, the rest got there by hard work and study - and a good measure of dedication to the craft.
Looks like you already have most of that going for you, David
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Author: susannah
Date: 2002-08-02 10:23
Firstly, let me say that I'm no expert at all....
I think your first question was whether its ok for symphonies to be simplistic? Well, yes, if you make it simplistic on purpose for the effect it creates. Also, you're pretty young, so its natural for things not to be too complex at this stage. However, it might be more sensible to stop writing symphonies for the time being, and instead do some solo or chamber writing. This is no less challenging musically, but a little more acheivable.
If you want to get better at composition, its the same as for most things...practise!. Also a good teacher will do wonders. Mostly though, listen constructively to your work and change things as many times as you like.
As for your last comment:
Also, how can I turn this into an opportunity for a career? I'm sure with some intense college study I could be phenomenal.
Well, I'm glad you're confident!;) If you really do want to be a proffesional composer be prepared for a long hard (and hungry) struggle.
All the best
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Author: Mark S.
Date: 2002-08-02 20:05
Listening and looking. As innovative as all the great composers were, they were still well versed in their idiom. Don't let people tell you what to write, but do become more versed in the musical language at your disposal -- borrow what speaks to you and turn it to your liking.
Read scores and see how the great ones did it too. Simple compositional formulas can be used to great advantage if you have the kernel of an idea to work from. Take your ideas and place them in traditional forms, then start messing with them. Go back to Bach (pardon the pun) and look at the enormous complexity he was able to derive from fairly small bits of material. There is a great legacy of Western music to draw upon to make your own statement.
Most importantly, keep writing. Some stuff will belong in the round file, but the more you put pen to paper, the more fluent you will become at transferring what is in your head to manuscript. Your success will ultimately be determined by the beauty and quality of what is rattling around between your ears. If people want to listen to it or play it, you'll find an audience. Now, whether they'll pay for it, that's a subject for another day...
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Author: David Pegel
Date: 2002-08-05 03:02
Thanks for the advice!!
Mark S.:
I have indeed studied musical scores before and looked at some books on theory. Half of it was over my head, but what I did get gave me some creative ideas, especially with smoother transitions and more feasible runs. I've also learned to experiment with different chords and leading tones to add a hint of color. But I've always come back to the simple progressions and used them for great effect.
If I get a peice published and/or recorded, I would like to send out a sample for free download so I could get some more constructive criticism. (Not sure if this counts as self-promotion, I'm not selling anything...)
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Author: Mark S.
Date: 2002-08-05 13:07
David,
Take advantage of the technology and self-publish. These days, there is not that much to be gained by being on a major imprint. A lot of them are having serious financial problems (Boosey & Hawkes, Buffet's parent in particular) and won't take chances on new composers anymore. If your hand-script is good, run with it. If your writing isn't professional looking, get a program like Steinberg's Cubase/Score or Finale. Set up your own site with samples from the piece, and maybe even some MP3s of excerpts, and sell copies over eBay or with Paypal.
Self-promotion is the only way to make it. The guys who "made it" did it with a lot of personal tooting-of-own-horn until somebody noticed. Check around on the web, too -- there are several websites (unfortunately, most are pop-oriented) that are meant to be clearing houses for new work. You might get lucky there, too.
Good luck, and welcome to the composer's cabal!
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Author: Mark Charette
Date: 2002-08-05 14:05
Mark S. wrote:
>
> Self-promotion is the only way to make it. The guys who "made
> it" did it with a lot of personal tooting-of-own-horn until
> somebody noticed.
Unfortunately, the abundance and ease of self-production/promotion by inexperienced people has led to a decline in the general quality of self-produced goods. It's an unfortunate reality: just because one <b>can</b> produce a score/CD doesn't mean one <b>should</b> do it. There's a reason why most composers end up using a copyist to produce the final version, even in this day and age of modern programs. That other set of eyes can find errors, omissions, and common typographical mistakes that you might not. There's also the problem of correct paper choice (color/brightness/quality), typography, layout, page turns, etc.
There <b>are</b> some small "music houses" that will help you produce a quality finished product and have at least some distribution mechanism. You might want to look at using their services for your final product.
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Author: David Pegel
Date: 2002-08-05 20:19
What a coincidence, Mark S., I use Finale on a regular basis.
I think I might actually try the publishing companies. ASCAP seems to look for new composers a lot.
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Author: Mark Charette
Date: 2002-08-06 01:18
David Pegel wrote:
>
> ASCAP
> seems to look for new composers a lot.
I don't believe ASCAP publishes ...
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Author: Mark S.
Date: 2002-08-06 15:07
Mark C,
Very good point, and I certainly don't want anyone to think I minimize the value of professional editors and typographers. I know when I'm playing charts for the first time that I flat out have an easier time sight-reading the professionally done stuff - no comparison. The advantage I see to the web is giving everyone a voice, and letting Darwin take over from there. God knows there is a lot of uninspired and uninteresting music floating around out there, but the same can be said for the "commercially" produced work as well. I wouldn't say there is an overall decline -- I would say that there is so much more weak material in circulation that the truly great art risks getting lost in the din. Still, survival of the fittest (except in Top-40 apparently...)
I think in the "new" economy, a composer has more leverage with a publishing house, record label, movie studio, band, etc. if he/she has developed a following. Businesses have become very risk-averse, and these days seem more willing to polish an apple than climb up in the tree and get one themselves. Hopefully the socialization of composition and recording will bring talent to light that would benefit from the professional services they offer.
BTW David, ASCAP is always looking for members (as is BMI), but they don't publish, do promotion or find work for their membership. They are a similar resource to the AFM for performers in that they look out for your interests and protect your rights as a member-composer. Check out the Harry Fox Agency if you want to understand better how the world works in terms of rights and royalties for your work. As far as publishing houses, the biggies are obvious (Boosey, Fisher, Leduc, Hal Leonard, etc.) but look at the boutiques, many of whom advertise through associations like the ICA. A newbie may get more love from them than a big cash-strapped publisher.
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