arrange • compose • conduct
Theory is good for understanding music. Well, the right theory for the right music. Roman Numeral analysis isn’t so great for understanding contemporary pop. Jazz theory isn’t great for Renaissance motets. Counterpoint is a great tool to clarify some aspects of much music, but if you’re trying to understand an […]
The more clarity you can give to the musicians reading the music, the better the reading will be. Nowhere is that more essential than when in a reading session like the Rockford Choirs Cabaret I do every year. We have a full band and allow just five minutes per song […]
I believe in the value of the D.S. It can save space in a score, making it easier to print; it can make it easier to learn a piece, because you don’t have to notice that a section is identical – it’s the actual same measures. It is also a […]
Which is most important to you? It has to depend on the context – if I’m picking a Renaissance motet, I’m more likely to focus on the music, because the Latin text isn’t going to be a significant resonating factor for my students. If I’m picking a contemporary choral piece, […]
Historically, composers drew no distinction between composing and arranging. Bach, Mozart, Beethoven, virtually every composer since has transformed existing melodies for their own purposes. I don’t think of the last movement of Beethoven’s Ninth Symphony as an arrangement, and neither do you. The simple truth is that good arranging is […]
My primary strategy for solving my beloved Matt Gaffney’s Weekly Crossword Contest is asking the question, “What’s weird?” What’s unexpected, different, or unusual? What stands out from the background? Because very often, that’s part of the secondary puzzle I have to solve. I approach composing and arranging in much the […]
Our brains are great at filling in the gaps in our perception. There are so many optical and even auditory illusions that show the way that our brains extrapolate from what we experience, creating information inside our brains that doesn’t exist in the world. (I think that’s probably the explanation […]
Why would a composer choose a career that minimizes new compositional work? I think this is true for many composers, but I thought about it the other day about Eric Whitacre. Eric is a celebrated choral composer, with a huge number of “hits” in the choral world. I have no […]
Not being Mozart is freeing, not frustrating. There is a mindset out there that people who are around a Mozart, but aren’t themselves at his generational brilliance, will feel jealousy or a sense of personal failure. Call it Salieri Syndrome. But not being Mozart gives you so much freedom to […]
How do you do your “one last look” at a new project? Even thought I do my music writing almost all on computer (sometimes some sketches are done with a pencil and paper), I feel like I always catch an error or two if I only edit it digitally. Printing […]