How to Write Music, Part 3

by David Doty

How do composers write music for instruments they don’t play?

Paper is cheap. Ink is cheap. Couldn’t composers just sprinkle droplets of ink on a piece of paper, hand it to a performer, and presto! (or andante, adagio, whatever), the piece gets performed?

Try this and a couple of things could happen:

The piece gets performed. It might not sound anything like what you had imagined or desired, but it gets performed nevertheless. Mission accomplished.

The piece receives no performance. Congratulations, you have another composition for the shelf.

Or worse yet, whether the piece gets performed or not, the performer(s) refuse(s) to work with you ever again. Not good!

Composers face multiple challenges when writing music, for performance at least, for instruments they cannot play and vocal parts they cannot sing. Assuming the composer wishes to continue receiving performances, if not also commissions, what should he or she do? The answer:

Consultation.

Composers don’t consult with performers for a variety of poor reasons. Perhaps they’re arrogant, lazy, or downright insensitive, bordering on the sadistic. Sometimes composers think they are too busy or too shy. But consultation with performers is key (no pun intended) to learning how to write for unfamiliar instruments and vocal parts. How should composers do consultation? I recommend the following:  

• Do Your Homework First. It will help to consult books on orchestration, musical scores, and recordings before meeting with performers. Time spent consulting is time away from practicing or teaching, so respect performers’ time. They will be glad if you do.

• Write Some Sketches. Come to a consultation appointment with sketches in hand. You want to learn how the instrument / vocalist sounds in various registers, playing various rhythms, articulations and dynamics, and what your particular performer(s) are capable of playing. It will help your performer(s) give you useful feedback if you share something of what you have in mind.

• Ask Them to Play Something. Many performers will also be happy to play selections of their repertoire for you, giving you further opportunity to discern their skill level and to imagine new possibilities.

By consulting with performers you not only show them respect, but you also receive the opportunity to learn important information leading to better compositions, more performances, and more enjoyment of the gift of music. It assures that you won’t write anything too easy or too challenging for your performers, and it may also provide you with inspiration, an invaluable tool for overcoming dreaded writer’s block.

Your Takeaway. What experiences have you had consulting about new compositions, whether as a composer or performer? Or, even if you’ve never consulted, what value do you think such consultation adds? Share your thoughts with a comment.