Category Archives: Composing

Back to gathering inspiration

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I guess it should be a welcome theme. Finish a project, try to get started on the next. I’m finding myself listening to lots of Felix Mendelssohn, playing some of it, and loving it so much. And today I’m trying to get to know Charles Gounod’s music better. I had known a couple of his pieces before, but today I discover his Funeral march of a Marionette, and it really moves me.

His music that comes at me from the Amazon artist station is deeply emotional, and I suppose that is to a great extent what music is meant to do. It grabs at any sadness or grief that is deep in your heart, and lets you just feel it. I can hardly catch any of the French in his opera lyrics, but the melodies, harmonic progressions, and orchestrations are still moving me, and I think it is true, that if the singer or musicians are pulling from inside them when they play or sing the music, that it transcends the language barrier.

I think this is just as true for instrumental music. You have to make more translations for yourself when you work on interpretation, but it can definitely communicate your feelings, and it can help the people listening to process their own emotions.

I didn’t think much about this aspect of music when I decided to follow the music path at 15 years of age, but I don’t regret taking that road.

(For those who don’t know that story, I’ll share it briefly here. In Sweden, when you are in 9th grade, you get to choose a program for your last three years of school called Gymnasiet. I had gone to a school that had an auditioned music program for grades 4-9. I learned a lot about music then, but aside from that, I was also a pretty good student, and I aspired to reach greatness in science on a separate path, that might take me away from full dedication to music. I knew I had a good chance of success in getting into the school of my choice, so it was important that I tell the admissions which was my first choice and which was my second.

I made it a matter of prayer, and I consulted with my mom about it too. I have never regretted choosing music as my main field of study, and I have cherished the experiences I had at Södra Latins gymnasium as a music student, and everything that it subsequently led to, with regards to further study of music, and a life full of music creation.)

I’m toying with ideas for my next project, and all the listening will hopefully help inspire me to make a piece that will also grab at your heart when you hear it.

Adding the middle part

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After yesterday’s work on my song, I have a melodic line for the soprano, and most of the bass line for the piano (which I’m thinking might be played by a contrabass instead), and I’m filling in the right hand of the piano, which might be played by a guitar.

I’m finding that the line is kind of just flowing today. I finish the right hand of the piano part, and I think a guitar will play it very nicely, but it can work on the piano too.

I go to work on the rest of the bass line, and it feels like it’s almost writing itself. I save, and I guess it’s time to make a new score for the new instrumentation.

I’ve printed a score, and I’m ready to try it out with some musician friends.

Time to gather inspiration, and more work on the song

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Yesterday I delivered the parts and ended up doing very little to write more music. I prioritized playing my viola for a half hour when I had the opportunity because I think it’s easier to get back to the sound I love if I do it more frequently. Then when the kids were climbing, I had my viola part for the Mendelssohn quartets and listened to Opus 13, 80, and just barely started on 44 when it was time to wrap up.

How deeply emotional they are! I’m trying to put my finger on why they are triggering such profound emotions when I listen to them. I think it is because they have a certain melodic turn-shape, and then it’s the repetition of that same shape. It’s coming from one instrument, then from another. It’s in one octave, then in another. It’s at one dynamic level, and then it’s at a different one. It’s the lovely development of ideas, and then the juxtaposition of a very different sound. It’s the dance-like structure to some of the movements that make me want to get up and dance.

Studying the quartets with the viola part helps me hear that part especially well, and I know when to anticipate what I think is a general pause in the musical flow.

Today I’m looking at my song again. Adding in a measure of rest for the vocalist, because I think it’s too much to keep singing for so long, and it’s good for the people listening to have a break in listening to the text as well. I know I need to add in the piano part, and it’s more than I think I can do in one sitting. So I’ll just get started and we’ll see how far I get.

I decide to work on a bass line in the piano part, from right before I stopped on the right hand line. I’m realizing I am writing the part so that a contrabass could play the bass line, and I like it. It would sound great with a contrabass and some other instrument, maybe a clarinet, and soprano. Well, a clarinet could only play one note at a time. A guitar I believe could do it well, with the few chords I have written, and mostly melodic line accompanying with a single note at a time.

So I think I might write another instrumentation for this song once I finish all the lines. Maybe tomorrow.

Adjustments, more lyrics discovered

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Today ends up being a lot of different things. I start working on the hymn arrangement for Thanksgiving, go on to the wind symphony project, and finish on the Return of the King song project.

At choir practice yesterday, one of my earlier suggestions was revisited, and therefore there were some adjustments to make today. I’m writing in a verse of a different hymn in the middle of the song, and a small instrumental intro to that right after the first verse.

I’m taking a couple of risks here. I don’t know if the guitarist and/or cellist will struggle with the high notes, because I haven’t given them notes this high before, and I figure it could be a challenge – it is on many instruments. The violinist says she can do either octave from the part I sent her, so I will have us test it out on Sunday to hear how well it sounds at the high register.

The middle hymn is more subdued, and it’s in SSA instead of SATB format. So I don’t have all the instruments accompanying that verse, only coming in at times, and counting rests part of the time. I’ll want to have the choir test part of it a cappella, and have the piano optional for the entire song.

No key changes within the piece because I don’t want it this time. Some transposing had to happen to have both hymns in the same key, but it’s totally doable for the sopranos to go up to an F, so I don’t worry about that.

Because it’s fun to work on a big piece, I look in my folder for “Wind symphony,” and discover that I had started a score for the second movement months ago. I listen through the first movement, just over 3 minutes long, and I still like it. That’s good. I think it could go a little bit faster, but I like the themes, and the ideas and the development. It’s obviously needing the next movements though! So I guess I’ll get to that in the next little while.

Well, that song I worked on last week? I look at it, and it seems I’m missing something. I go back to the scriptures, and decide to include some more lyrics. Maybe I won’t need to repeat the lyrics, just melodic material, to make a more catchy song. It sure is superior to work with lyrics that are poetic (and these are definitely poetic). I add in what kind of amounts to a second verse of the “aria” if you can talk about this piece that way. I’m pretty excited. I think I’d like to sing this song some time.

Before quitting for the day, I add in the rest of the song (melody/vocal line). Its running time is five minutes now. Time to deliver the parts for the Thanksgiving song and maybe get dinner on the table.

Create something each day

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I give out two parts this morning from yesterday’s work. I have never actually written for guitar before, and I’m uncertain how it’s going to go over with the guitarist.

It turns out he’s been reading TAB notation, but that is something I am completely unfamiliar with. I’ve written it on a normal staff, and he reassures me that he can translate into the format he knows better.

I get to my computer, and I’m kind of dragging my feet today. That song I started working on earlier this week is itching at me, but I don’t know what I’m doing with it. I decide to just do something. I write in the right hand of the piano to accompany the melody line I wrote a couple of days ago. I find that adding in one more voice actually does a lot to inform the way the song will go – harmonic changes, interplay between voices, and in turn, the bass line, if that isn’t one of the first two.

Yesterday I did a scripture hunt for the word “Perfect.” I don’t know who will be wanting to play it, but I have this idea for a three-movement piece for wind symphony. I wrote the first movement some time ago, but I never got it performed, and I kind of lost heart and didn’t write the second and third movements yet. But I had found my notebook with my ideas for the second movement, and yesterday I worked on the ideas for the third.

It’s easy to just go on being busy without creating something. But I made a goal to create something each day, even if it’s small. One thing it has done for me is appreciate the Sabbath more. I’m kind of spent after trying to create something for six days straight, and it gives me a better rest.

Last year, I was practicing my viola so much all the time, that I started to feel an inflammation develop in my arms. After starting to observe a Sabbath rest one day a week from practicing, my inflammation went away, and I don’t have that problem anymore.

Another thing I notice is that when I play music, I am happier. So when I feel heaviness lowering down on me, it’s usually a good cue to go play some music.

I write some more of the piano accompaniment. Last night, I also listened to Arnold Schönberg’s Verklärte Nacht. It is not quite as esoteric as his later works, and I felt it was very moving. Somehow, as I’m writing today, I find that his harmonies are still ringing in my head.

And I fill in the rest of the accompaniment to how far I’ve written. I’ve long looked up to Franz Schubert, who cranked out hundreds of Lieder in his short life. Or Charles Ives, who wrote lots of cool songs, which I was first exposed to from a piano teacher at Södra Latin. Maybe that is how it is: once you find the harmonic/melodic language you favor, it’s much easier to put out a lot of music quickly, if you just show up and keep doing it, a little each day.

After getting in a good practice on my viola, I feel very happy. I’m back working on writing the song, and I find the melody flowing to me easily. Suddenly I’m out of lyrics. Is this the end?

Unlikely. It feels like it needs some repetition. So I’ll figure that out, sometime soon, but not today. I add in the right hand of the piano accompaniment for the next 41 measures, and I’m starting to feel tired. I’ll leave it for tonight, and get back another day to this song.

Reflections on rhythm

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I have been reflecting on rhythm a bit the last day or two. I guess I sometimes keep the rhythm very simple, and other times I play with it a lot. I’m not a percussionist, and I know they play with rhythm a lot more. Sometimes in the string section, we get to be percussive, and it’s all about the rhythm. Like when we played Mjölnir or The Imperial March for example.

I have learned about music for pretty much as long as I can remember. At first, it was all in Swedish, because I lived in Sweden until 2002, when I entered Brigham Young University as an undergraduate student in music. I had taken plenty of music theory, aural skills, composition and arranging classes, harmony, choir, vocal ensemble, piano, and I had also rubbed shoulders with lots of talented musicians in other fields (instrumentalists of most kinds, jazz players, etc.) which gave me some insight into their world.

But it wasn’t until I was in college that I learned the terms “simple meter” and “compound meter.” It’s very intuitive once you apply it to all the music you’ve heard and studied for 15 years or so, and it becomes another useful tool or term to use when talking about music. I’ll explain here briefly for those who may not know about it.

Simple meter is when the subdivision is 2. You have 2/4, 3/4, 4/4, 5/4, etc., and the subdivision is the eighth note. Compound meter is when the subdivision is 3, and you have, for example, 3/8, 6/8, 9/8, 12/8, and so on. For a conductor, you beat one, but there are three notes to each beat (or you feel it if it’s not subdivided right there).

We were just playing the music from Avatar last week at our Halloween concert. One of the intriguing parts about the music is that it switches from simple to compound to simple subdivisions several times. Harry Potter symphonic suite is all over the place as well, and you get to play both. You can simulate compound meter by writing in triplets in a simple meter. And you can simulate simple meter in a compound meter by writing in tuplets.

When I write music that is based on words, the lilt of the language helps inform the rhythm. That is one reason I love working with lyrics, because inherent in most poetry is an interesting rhythm, and it helps me create what I think is an interesting line.

Try these:

“and the calf” with the rhythm two eighth notes and a quarter note

and

“cover the sea” with eighth note triplets and a half note.

You get the stress on the strong part of the beat, which makes it easier to sing, and easier to understand when you listen.

This way, the way you write rhythm reflects your interpretation of the lyrics, much like a reading would convey the way you understand the poetry.

As I’m working on the melody for my new song, I listen through, and find that there is one point where the word “and” lands on the downbeat of a measure, and it seems wrong. I fix it by adding in an eighth note to the previous beat, and moving all the rest of the notes one beat closer to the beginning, and it’s like I was imagining. It’s easy to make a mistake, but I’m glad it’s pretty easy to fix too.

I’m trying to decide which parts of the scriptures I’d picked to include, and which to skip over. Trying to include all the scriptures will be tedious, and people might struggle to understand certain wordings because they’re so archaic. For a song to be “catchy” like I suggested yesterday, repetition is extremely useful. Nobody can learn a song that doesn’t repeat anything except by practicing a lot, and that kind of is the antithesis of “catchy.” I would like it if people hear my song, and then start humming it, and that will only happen if I repeat an idea enough. So maybe I’ll settle with the material I’ve come up with and then repeat the ideas again, with some interesting (hopefully) twists.

Writing a melody

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For a song, the melody will be important. As I’m walking this morning, before it really starts snowing, my mind goes to the beginning of the lyrics, and I’m playing off the intro to get the beginning of the vocal line. My walking friends probably don’t notice that I just zone off for a moment while figuring this out.

I pull up my score and start writing in the first lines. I add in some accompaniment. I like sequences, because they make it so you feel like it’s not all new. As usual, I’m wondering if it’s any good, but decide to just keep writing, and edit later. Hoping that it’s not all going to get trashed. Hoping I can write a piece that has just enough challenge to be interesting, but not too difficult so nobody will want to sing it. Or maybe catchy, so everybody will sing it after they hear it. Hm, that would be something new, it hasn’t really been my style before.

At least the chosen selections from Isaiah are pretty powerful, and I’m glad to have some poetry to base the song on.

I don’t get very far today on this piece. But I talk to a friend about writing a piece for her, and that’s exciting.

Adding a title

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Having just finished two projects – one that took six months, another that took a couple of days, I’m thinking of how to start the next few projects. I guess it’s easier to have several running at once, so that if inspiration is low on one piece, you can always work on a different piece.

I resolve to just start a score, and I’m met with numerous choices. I’d decided on what instruments to include, so that was easy. Next, time signature, ok I decide on 3/4 because I worked in 4/4 last and I want some variety – key signature (I often pick atonal because I like to work with accidentals independent of the regular tonal modes) – title! Yikes, I don’t know what to call my piece. I think I’ll go help my son with his math and get back to figure out what to call my new piece a little later.

I go back to the computer, and my mind is blank. I find an article online that talks about how to choose a song title. And I see that Espie Estrella among many other things suggests turning to books that inspire you. I guess I’m listening to Return of the King, and decide to go for a working title, even though I have no lyrics. I have no idea what the piece will be yet. I’ll go watch the boys climb for a few hours and see if my mind churns up any ideas.

While they climb, I open up my Orchestration book (Samuel Adler, I’ve kept this one from my studies – it’s a treasure!) and I’m thinking of reading about the brass, as I want to write some brass pieces again soon. However, I am drawn to a section that talks more about scoring for orchestra, and transcribing one setting to a different one. I see an example on Robert Schumann’s Piano Quintet, and I decide I want to listen to the piece. I keep listening to a few different piano quintets, and I am thinking about how a piece really doesn’t need much to get started. A simple theme that can be varied in so many ways is enough. It’s the variation that is the most interesting part of the craft, although a compelling melody helps.

As I reflect on this process, it strikes me that writing a piece of music can be kind of like a hunt. You’re looking for a spot that’s a little warmer than complete blank. One thing leads to another, and eventually you find something that helps you continue creating. Last night, I made a playlist for the music my orchestra is playing for our next concert. I’m excited about the Vaughan Williams Fantasia on Greensleeves, because he seems to favor the violas, and I guess I kind of do too. This is not necessarily leading to anything tangible for my composition (this time I’m not including any violas), but I’m hoping I’ll be better prepared for rehearsal on Thursday.

I turn to scripture, a reliable source for inspiration. Return of the King is obviously a work of fantasy, but some of the images invoked in the story remind me of the second coming of the Lord Jesus Christ. I decide to do a search for scriptures about the return of the Lord, and I feel like I’ve struck gold. I listen to a conference talk by Elder D. Todd Christofferson and I put some of the scriptures quoted into a document to prepare for making the song I want to write.

Back at the computer, I start working on an intro. I’m hoping that I can play out a melody to the lyrics I’ve started putting together, maybe tonight.

Final touches

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I brought the printed out copy to rehearsal and I showed it briefly to a couple of friends. I guess I realized that I didn’t need to ask many questions anymore. I’m feeling comfortable with what I’ve learned so far, and I hope that a real orchestra will read it before too long. My contrabassist friend mentioned that they don’t really like solos, but I have this line that is letting them solo briefly in the piece. Well, they get to anyway.

This morning, I look through the printed copy. I make a mental note of a handful of things to take a closer look at. I noticed this part where the second violins cut out for two beats, and I was wondering if they should keep doubling the viola line right there, and decide to let them do that.

I also noticed that I had changed the pitch in the timpani sooner than I realized, and make a note for the timpani to change one of the pitches earlier in the piece. There is this fortissimo section, where the flutes were only at mezzoforte, so I give them fortissimo as well.

There was this place that looked unfinished. I had copied in a couple of string parts to the clarinets. And the second clarinet was playing higher than the first. That isn’t necessarily a problem, but it didn’t look right. So I went to work on that section. Now the first is playing higher, and I also added in some flute doublings, because they should be playing when it’s nearly tutti.

I look at the timpani some more. At first, I’m thinking, maybe I should add a fifth timpani to the mix. But that seems excessive, if it’s just for one note. So I work on the timpani part some more, and add in another tam-tam beat at the fortissimo section, and a triangle entrance that adds some zest.

I’m very pleased with the divisi violas from yesterday.

I can’t believe how hard it is to call it done. I feel like every time I look at it, I find another small problem with it. But I need to move on. It would be very fun to prepare the professional parts, with cues and everything. I know how helpful that must be for the timpani after 31 measures of rest, to know just what to listen for. It is for me as a violist, after a long rest, and I don’t usually get that many measures of rest. Sometimes there are no cue notes, and you have to infer from tempo changes, just count, or make notes yourself to know what to listen for.

So I go through it again. I’m second guessing the quick switch from snare drum to bass drum, and give the percussionist three more beats to switch. I decide to divide the violas one more time, just for a few notes, to make the string sound a little fuller, not so gaping between second violins and viola.

The competition I’m entering asks for program notes. So I take some time to describe what is happening in the movement. It’s pretty abstract, but I guess all this blogging about the orchestration and composition of this piece might have helped me know how to talk about what I’m doing.

That’s it for now. I’m not making any more changes unless an orchestra picks it up and there are obvious problems with something I wrote that I hadn’t addressed.

Looking through parts

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A quick way to notices mistakes is by looking through each individual part. When I first started writing for orchestra (and voices) I wrote everything by hand. It was amazing when software extracted parts for me automatically. And even more amazing when the software made them dynamically, and if I made a change in the part, it automatically got changed in the score.

I start with flute 1. A little after rehearsal E, I see a missing dynamic. I go to the score, because if it’s missing in this part, it’s likely missing in other parts as well. I look at the section, and it appears I only missed to give the flutes a dynamic. I look at flute 2, and I’m wondering if the fortissimo continues after the four measure rest. It does. But then I see that the oboes were supposed to get to participate in the last couple of measures, and I had to forgotten to add them in. Actually, I wanted all the musicians in the orchestra to play the last couple of measures, in pianissimo, so I write in the horns and the trombones as well. It will be an interesting pianissimo, but I think it has its place.

Oboe 1. There is one suspicious omission of dynamics, but it’s a short rest, and I just add in the word “solo” in two places to help her or him know that it’s kind of exposed. I proceed to add in the same word for the clarinets and the tuba in their respective exposed parts. I’m looking over the clarinet part. I see what looks like a solo in the high register in mezzopiano, and I’m wondering if I’m serious about that dynamic. I go to the section, and see that for some reason, the second oboe cuts off before the other woodwinds. Why? No good reason, so I extend that note two beats. I experiment with extending the chord two more beats, but then the delicate clarinet gets kind of drowned out, so I undo that. I notice that I forgot to add in a slur at one point. Clarinet 2 gets added in several measures after the first, and I had forgotten to give them a fortissimo. I notice a similar problem in the second bassoon part.

I get to the second trombone part. I’m wondering if they’ll be frustrated that I didn’t give them more notes. I will listen through the piece and see if it looks like it’s missing a second trombone anywhere. I find this one part where a lot of the brass is playing, and I double the cello line in the second trombone, and add in a tuba octave doubling to the fourth horn. Listening in to check that they don’t drown out the bassoons. Adding in a doubling of the bassoon to the second trombone for that one gesture that seemed kind of lost once the tuba came in. Seeing as the notes are the same as the timpani has tuned to, I add in a doubling on the timpani.

I add in some more doublings in the ending part. The low brass is needed there. I add in a Glockenspiel doubling as well. It should pop now. I look back at the trombone parts now, and they look better.

Moving on to percussion. The timpani will have to retune two of the timpani one step or a half step, twice in the piece. They have plenty of time, so I hope they can do it. The percussion parts look ok. I see that the marimba might wonder at what dynamic level to start their diminuendo and add in a forte.

It’s time to look at string parts. The first violin has four pages of music. I’m looking at the bowings, and it’s pretty much what I had in mind. I guess I’ve looked at this part a lot in the score. I’m looking at the second violin part. One small section looks like I neglected to add in phrasing, and when I go to the score, it’s also missing for the viola part, and I fix it.

I look at the viola part, and for some reason, the missing phrase markings are more glaring here. I go to the score, and fix it for violins, viola, and cello all at once. There’s this suspicious part in the cello part, where no markings for phrasing or bowing are present. I go to the score, and I decide to change the notes just a little to better align with the rhythm right there. The phrasing follows.

Well, I think I must have given the contrabass part a lot of attention before, because it’s looking deliberate throughout.

Breaking for lunch.

I come back to it. I add in a cover page. I’m wondering what kind of subtitle to give it, I’m coming up blank so far. I look at the opening gesture, and decide to give the first trombone part to the second trombone part, and give the first a new part, a little higher, closer to the oboe’s melody. I decide to divide the violas in this one part where there is a big gap between violins and violas, and I want to fill it in more.

I think it’s time to print it out and maybe show it to a musician friend.