Dear Composer…
I’ve played a lot of band music. I’ve been playing more-or-less continuously for 25 years now and have played in a wide range of groups.
Over time I’ve come to the opinion that not everyone arranging and composing out there is treating their craft with as much care as they could. How many of us have played really poor arrangements? The kind where the music was really inhibited by the mechanics of pen and paper?
Here, without much organization are the points I’d want to write in my “Dear Composer” letter:
Dear composer
Give your bass instruments something to do. Mozart did not have modern percussion for rhythm. Consequently he had to put the “fire” in his music in supporting passages and rhythms. Do this and it will amaze you. And your bass players will thank you.
Do not write excessive upbeats for your horns. Leave upbeats for percussion if they must be constant. Write counter melodies instead. You’ll get better music from the players.
It is easier on the ear for the lower end to be lower than the higher end higher. Give your flutes and clarinets a break now and then. Give your tubas and trombones a pedal tone now and then. The sound will be darker and more in tune.
Learn to use “one on a part” and “a2″ appropriately. Giving 12 clarinets, 6 flutes, and 2 oboes a unison part marked piano never will be. Such imbalances are an impediment to the production of the music.
The same goes for section and balance. Two oboes with a mezzo forte soli will be buried if accompanied by all the clarinets, flutes, and low reeds, even if they are all playing piano.
Learn each instrument and what it’s voicing is. Get a good recording that a player of that instrument would recommend as an example of good writing. Learn the palette you paint with. To whit:
- An alto clarinet is not an alto sax.
- Saxophones are not french horns.
- String basses are not tubas.
- Euphoniums are not trombones.
- Trumpets are not cornets.
- Eb Clarinet is not a piccolo.
- Contra clarinet is not a Bari sax is not a Contra Bassoon
Get a set of good scores and recordings of the great voicing composers in your medium. Alfred Reed, Vincent Persichetti etc in band, Tchaikovsky, Ravel in orchestra, etc. Look for the passages where the only variety in the theme is a change in voicing. Look at the combinations and also how they are paired back to back to dovetail and contrast. Listen to why. You won’t get better in voicing without study of voicing and trusting your own ears.
Do not score a unison part for Tuba and Tympani. Yes, that creates a powerful sound that can be used for punch. But if you do it the whole way though, it is a disservice to both instruments.
Learn to score the intended meter and rhythm clearly on the page. It’s amazing how a simple change in barring or rests can make a passage much clearer in performance.
If you must write a double sharp or double flat, do so in the score so that the chord is clear. In the part, write the easier-to-read enharmonic equivalent. (Yes. I know this is considered improper. Would you rather have your music be academically proper or played well in most circumstances?)
On that thought, don’t put yourself in a situation that requires double sharps and double flats. If possible, use keys that are easier on the lead instruments and players.
Yes, sections like flute, clarinet, and trumpet are considered the “violins” of a wind ensemble. But do put solos elsewhere now and then. And remember to create second part solos when appropriate. Give your payers something to do.
Be careful when writing common string articulations for wind and percussion players. Depending on the context, they may not know.
It also helps to mark the dynamic of customary lead instruments clearly when a solo is elsewhere. In many groups they will need to be reminded to be a supporting player.
If you call for a large number of percussion, remember that some groups may not have the full compliment available. Some groups may have only one or two players. Try to organize your percussion parts so that they are playable without excess instrument swapping between players. Keep the most important parts in parts 1 and 2 so that short-handed groups won’t have to create a custom part.
Do not call an instrument for merely a handful of notes in the whole piece.
Percussion can accompany and enhance soft and tender passages as well. Don’t have them sitting only for the boom at the end. Writing loud percussion is easy. Learn to write for soft as well.
Do not make a condensed score. Print Full scores. With ample margins for notes. And printed large enough to be read while conducting.
Add performance notes to your piece. If there is a particular effect or transition that you think may be easily misunderstood, a paragraph in the score can help the conductor immensely.
Ask your printer to put measure numbers on the parts. Put your rehearsal letters or boxes at phrase points in the music. (Not every X measures)
Avoid excessively complex road maps. (Usually not a modern problem.) While it was considered ok to place a sign or repeat mid-measure in the past, the practice should be avoided.
When writing chamber music, it isn’t required that all members play constantly. Considering the nakedness of the parts, rests become more important that in larger ensembles because you can’t catch a breath while another player covers a passage. Also, in a small group, cutting out and adding players can produce an amazing range in color and dynamics.
[ Published from Notes and accidentals. You can comment here or there. ]