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Composition Seminar Jordan Randall Smith Conductor [email protected] F/T/I: @JORDANCONDUCTOR (443) 840-7449 W: JORDANRSMITH.COM Orchestrating for Success: Getting the Players on Your Side, on Day One Morgan State University |February 13, 2019 Beaming 1. Work to create the simplest possible beaming, organizing according to the time signature. Exception: in 4/4, beam into 2 groups of 4 eighths. Left: Stravinsky, Soldier’s Tale: The Little Concert, R. 9. Right: source: Indiana University Style Guide 2. Singers should also see beams in logical groupings according to meter. Avoid flags as the default. Justification All events occurring on beat 1 belong on the left margin. Exception: whole rests are centered. Franz Doppler, Fantasie Hongroise New Notations Avoid creating new notation methods when at all possible. Opt for the simplest and most traditional method of notation possible to achieve the desired sound. Oftentimes, there is a very simple way to achieve a desired effect. For common terms, use standard Italian markings. For specific instructions, use English. Orchestrating for Success: Getting the Players On Your Side, on Day One !2 Source: Music Engraving Tips (Facebook) Score Order, Staff Deletion 1. Use the most conventional score order possible. 2. Generally avoid deleting staves unless there will be an extended section, such as a cadenza, which will fill up a significant portion of the score, which will only use a handful of instruments. Ledger Lines, Clefs Generally speaking, musicians prefer not to look at more than a small number of ledger lines (2 or 3) if it is avoidable. For many instruments (violin, piano), it is appropriate to use 8va or 8vb, or even 15va or 15vb. For some instruments, such as viola, cello, bass, trombone, and bassoon, clef change is the more common way to indicate extended pitches beyond the first few ledger lines. Generally speaking, avoid frequent clef changes. Schoenberg: String Quartet No. 1 Fonts Use the most generic and easily readable fonts and styles possible. Avoid “handwritten” and “jazz” fonts. Source: mozart.co.uk Jordan Randall Smith Orchestrating for Success: Getting the Players On Your Side, on Day One !3 Page Turns Make certain that page turns do not sit along modulations, new sections, new meters, tempo changes, or other important musical transitions. Source: twitter Articulations and Other Style Indications Put thought into the articulation markings that are appropriate for any given passage. In particular, wind players expect that every note will contain some indication as to length and attack (legato, staccato, tenuto, marcato, etc.) and do not have a default articulation. All musicians look for guidance, shape, direction, and character as a sign that the composer has a clear concept of sound in mind. Source: Wikipedia Rehearsal Marks, Measure Numbers After you have finished composing, do a surface-level analysis and select logical points for rehearsal marks (letters or numbers). The finished score should have at least one rehearsal letter for every two facing pages, if not more often. Do not place an arbitrary rehearsal marking every 5 or 10 measures. Also provide measure numbers in score and parts. Spelling Work to spell chromatic chords in ways that make sense horizontally rather than vertically. That is, look for the option that makes it easier for the individual musician to read their part, even if the chord spelling is not vertically satisfying to its chord function. As a general matter, avoid using double-sharps and double-flats if there is a simpler way to write that. Also, French horn players as a general rule do not read key signatures in contemporary music unless the music is particularly tonal. Source: Wikipedia Jordan Randall Smith Orchestrating for Success: Getting the Players On Your Side, on Day One !4 General Advice 1. Be Meticulous. After you extract your parts, make sure to look through each individual part, measure by measure, slowly, with a “fine tooth comb.” You are looking for outright errors, for style and rehearsal markings that did not export to the proper line, etc. and generally making sure that it looks elegant and gorgeous on the page. 2. Show Empathy: The musicians will be striving to give you a great reading of your work. You want to show them how much their time is worth to you by giving them readable parts. Show empathy for their efforts by thinking through what each musical request will mean to them in physical terms. 3. Strive for Simplicity: Even as you make certain to give a thorough sense of musical detail, look for ways to simplify your notation without compromising your musical vision or the sound you are after. The goal in simplifying is not to affect the sound but to lower the cognitive bandwidth on the musician so that they have an easier time performing the musical whole. Further Reading Adler, Samuel. The Study of Orchestration, Volume 1. New York: W W Norton & Company Incorporated, 2002. Beck, John. Encyclopedia of Percussion. New York: Garland Pub., 1995. Brindle, Reginald Smith. Contemporary Percussion. New York: Oxford University Press, 1991. DiOrio, Dominick. Writing for “The Chorus”: Text, Dynamics, And Other Occupational Hazards. New Music Box. nmbx.newmusicusa.org/writing-for-the-chorus-text-dynamics-and-other-occupational-hazards. 2019. Gould, Elaine. Behind Bars. London: Faber Music Ltd, 2011. Read, Gardner. Music Notation: A Manual of Modern Practice. Second Edition. Boston : Crescendo Publishers, 1969. (paperback edition: New York : Taplinger Publishing Company, 1979) Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New York : W. W. Norton, 1980. (Based on the International Conference on New Music Notation in 1974.) University of Indiana. Music Notation Style Guide. music.indiana.edu/departments/academic/ composition/style-guide, Rev. 10/09, 4/10, 8/11. Jordan Randall Smith.
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