Four Scores and Seven Weeks Ago .....

I've been a bit obsessed with analyzing orchestral scores lately (one of the reasons a blog post didn't happen in February). I love to grab a pile of scores from the shelf, sharpen the pencils, and immerse my left brain in some mental calisthenics. My latest venture focused on one film composer, John Williams. I'm sure many of you are thinking, "Cool Lou, I love John Williams", well ..... truth be told, I don't. Mr. Williams is an incredibly talented and effective composer who isn't really my cup of tea. It's not about his level of talent, it’s about having different sensibilities. "So you may be asking - you're not much of a fan, but you are spending hours analyzing his work?"

Exactly!!!!

During the early years of my music development, I mainlined heavy doses of 20th century icons like Bartok and Stravinsky. I worshiped them really, not just the compositions, but the orchestrations too. I could get lost in any movement of their masterpieces for days. At this age I was a bit black and white when it came to what I liked, and what I believed had value for my growth as a composer. One can then imagine my horror when my orchestration teacher told me that he and I would be studying Aaron Copland's Four Dance Episodes from Rodeo. "Frickin' cowboy music!!!" "All that Americana crap??" I was not enthused, but like most folks at that age, I would soon find out how wrong my opinions really were.

It is true that Copland's music goes hand-in-hand with the wide open spaces of the American west. That doesn't mean it's overly simplistic and without wonderful intricacies. Once I was forced to really look behind the curtain, I could really see his genius. I discovered techniques and some gorgeous instrument pairings that I use to this day. They may have been used in a context that evokes the imagery of Americana, however their use isn't limited to that context. Techniques can be incorporated without echoing the source so don't dismiss music that is 180 degrees from your own. The artists that differ greatly from your style can be a wonderful resource for expanding your musical identity. Thankfully this is a lesson I learned early on.

Here, in all its glory, is Copland's Rodeo and some of the selections of John Williams bountiful catalogue I've been studying.

Faking It: Orchestration via Samples

Today's composers are often faced with budget constraints that make it impossible to have a large orchestra perform their score. Creating sample based versions instead is a reality for most writers. If you find yourself listening to what you have created, (or what you have paid someone to create) and are thinking "This just doesn't sound like an orchestra", I may have the reason for it. I believe a weak link for many composers is a lack of knowledge in writing and orchestrating for an orchestra. Of course we are all limited to the capability of any sample library. They can't do everything, however, they are extremely powerful and can create something very convincing. Think of it this way, it's very hard to successfully emulate a sound artificially if you don't have a real understanding of how that sound is created acoustically. I'm not implying there are rules, or a right way and a wrong way. I'm suggesting a deep understanding of the range and capabilities of instruments will result in a more convincing product. So, how do we improve?

Finding an orchestral piece that you really like, and purchasing the study score will go a long way in your education. Most of the major works are now in the public domain, so the scores are quite cheap (for example, The Rite of Spring at $9.95, is a steal). Once you have soaked in that score move on a different composer, or era. Keep in mind that the art of orchestration didn't really begin until the 1800's. Bach, Mozart, Vivaldi, etc, tend to be relatively simple examples of what those instruments are capable of, both in color and combination. From Beethoven, through the Romantic period, and into the 20th century there is a vast library of genius to get lost in.

Another must have is a good orchestration book. There are some great choices out there. If you really want to get knee-deep into it, I recommend The Study of Orchestration by Samuel Adler. It's pricey and you will need the CD-Rom companion set which doubles the price. A more affordable option that is geared towards a beginner would be The Technique of Orchestration by Kent Kennan. This package includes audio CD's with the hardcover for a bit more than the cost of the Adler textbook. If those excursions to Cochella or Bonnaroo have left your bank account balance looking like your shoe size, Rimski-Korsakov's Principles of Orchestration is your answer. It's under $15 and covers ranges of instruments, the tonal shades within those ranges, and colors of instrument combinations. This is an art that will take some time to master, but in the process you will grow as a composer and as an orchestrator.

For those of you that haven't listened to a lot of orchestral music and lack favorites, here are some recommendations for you:

• Music for Strings, Percussion, and Celesta: Bartok - An isolated example of the string section and all it can do, plus the eerie use of percussion. Not public domain yet, so the score won't be found for $20, but it's worth every penny. 
• Til Eulenspiegel, Zarathustra, and Ein Heldenleben: Tone Poems by Strauss - Excellent examples of brass writing. All three pieces available in one book.  
• Petrushka: Stravinsky - You can get familiar with the woodwind family with this score. I spent an entire semester in college studying just the woodwinds.
• Pictures at an Exhibition: Mussorgsky - Originally composed for piano, later orchestrated by Ravel. The Eulenburg edition of the study score has both the orchestra and the original piano part together. It's fantastic to view it this way and see the choices Ravel makes.

Amy Beach

If you have been a fan of Classical music for any length of time, it can be difficult to discover something new. For most people, even musicians, Amy Beach is not a recognizable name. Considering she was the first female American composer of any stature back in the late 1800's, one would think her name would have made the rounds by now. It's quite surprising since she was well respected in a male-dominated field during her life, yet history has somewhat forgotten her.

Beach was a child prodigy as a pianist, and later composed a piano concerto, a violin sonata, chamber music and many pieces for solo piano ... all with minimal formal education. I will admit I do not know her entire catalogue well, but for me the one that stands out is her "Symphony in E Minor", also known as "The Gaelic Symphony". It's a wonderful piece with a wide range of moods, from pastoral to very intense. Like Dvorak and Stravinsky, Beach draws on folk music for her themes, in this case music from Ireland. Although the themes are Irish, her music doesn't come across as a Lucky Charms commercial.  It has something of an American sound and feel to it. Beach not only excels as a composer, but also as an orchestrator.  The string and woodwind writing are of particular note. She creates beautiful color combinations both within those sections, and with some interplay between them.    

It is a bit of a time investment, about 40 minutes, but I hope you will take the time to explore this piece and perhaps some of her other works. This slice of American musical history would be a great accompaniment to your Sunday morning coffee.

I'm afraid Youtube did not have any good options for listening, but I have included a Spotify playlist for you. This recording is also available at Amazon but not itunes. For those of you looking for a study score, can find it here.

WELCOME

Welcome and thank you for visiting my little corner of the internet. If you're hoping for a place to find out where I went on vacation or how much I dislike Taylor Swift, you're going to be very disappointed. This blog is a vehicle to explore all that is great about making and listening to music. You won't see any scathing reviews or bitter ramblings ... (well, you probably won't). What you will see are the tricks and techniques I've learned over my career, plus a myriad of music that I find inspiring. I extend an invite to professionals, the aspiring and the folks that just love music.