The Art of Composition
November-December 2011
by Gary Farr, pianist, composer and radio creator & programmer
When I first started writing these blogs, I sent out an e-blast to several pianists whom I air on the Solo Piano channel, asking them if they had any topics they would like me to cover. Pianist Greg Maroney had several ideas and I credit him for this one. The art of composition.
I recently saw a question on a LinkedIn music group I belong to asking, "how do you get over composers block?" I thought to myself, kind of the same idea, where do you start? How do you start? What inspires a composer? Why are you even a composer? How many musicians ask themselves that question!? Why!? Art of expression? Work-for-hire? Could be and usually is, many different, variable reasons.
In today's world, computers have made it much easier to compose but not necessarily very well. Anybody can pluck down a few notes and call themselves a composer, and, can always find someone to listen to it. But the title is The Art of...so like a masterpiece or at the very least, a good painting, let's approach this blog about good art and composing. First of all, I think of myself as a good and fairly successful composer. Still, I'm looking for that feature film to score but then that's another topic, 'Politics of the music biz'.
For me, you have to be somewhat efficient on a musical instrument. I used to believe that a good composer needed some music theory knowledge, but then look at Paul McCartney. He became one of the greatest songwriters, never could read or write music; just chord changes. However he could hear all the music in his head and was able to express it with his guitar and voice. Then he was able to put it down on recordings. So now I've opened up a whole new discussion; what kind of music are we composing? Is composing and songwriting different? I think so. I can count on one hand how many songs I've written with another lyricist or my own lyrics. I'm really a composer, not so much a songwriter. Make sense to you? A good painter must have good brushes, canvas and other tools to work with in order to paint a masterpiece. The knowledge of music theory, your own instrument, your own technical abilities and if you are orchestrating, the knowledge of other instruments are all part of your tools. Then your inspiration can go wild! If you can only play three chords on a guitar, well that's the extent of your composition. Lots of Rock & Roll tunes did ok selling records with three chords. But is that art? Like a painting, the beauty is in the eyes of the beholder.
I've composed music from a full blown symphony to techno and everything in between. Some for hire (TV & film) and some from inspiration. First and foremost, I believe that composing has to come from some form of inspiration. Usually a mood, emotion, something you witnessed or a book you read. If it's a work-for-hire, usually a director will express their concept. They might paint a picture for you or an audio/visual scene generating your inspiration. As an instrumental composer, my way around the piano keys and the knowledge of music theory certainly have been valuable tools. When all is said and done though, forgetting everything I learned, just being still and listening, usually something pops into my head. That's a starting point even if I change it several times. Some of my simpler piano pieces coming from my heart seem to touch the listener more than a complicated tricky jazz piece.
I spent many years performing and arranging cover tunes in bands which gave me the opportunity to study other composers, arrangers and songwriters. When I was in LA, I was hired to composer, arrange and record music for a James Bond short film spoof. The director wanted the music to sound like the soundtrack from Die Another Day but we couldn't rip off the original music, so I had to compose something close. Being a John Barry and James Bond fan since I was a kid, made it a fun challenge. I studied the underscore from the film, how the composer and arrangers used different orchestral instruments, etc. The film was submitted into a few festivals and my soundtrack was nominated as a finalist in the Moondance film festival. Listening and emulating other composers can help you compose your own music. Every composer takes something from someone else unknowingly or not.
Sometimes I'll start with a good melody, sometimes a chord progression or even a basic groove and build from there. Lots of my jazz writing comes either from a chord progression or just a bass line and drum groove. Some composers seem to get stuck with similar writing; one piece starts sounding like another. Phillip Glass made a trademark for himself making his film score sounding the same using rhythmic repetitive notes on the piano.
I remember having debates with a music theory teacher about the 'rules' of theory and composing. I would always argue, if it sounds the way you want it to, then you can throw all the rules out the window. The point he was arguing, "once you know the rules, you can always break them." His point being, learn what I'm teaching you here and now (theory) then you can go out into the music world and create your own rules. Going back to Paul McCartney's songwriting, even though he didn't have formal training, he did acquire some musical knowledge from his father. Out of the Fab Four, he brought to the table more musical knowledge and was the one with the most creative (musical) ideas.
Past blogs:
How to submit music for radio airplay
Oscar Peterson new recordings
For questions or comments about these blog's, e-mail me at gary@gfcreativemusic.com
To send me a CD submission, e-mail gf@sky.fm for my biz address.
To upload mp3 submissions for Sky.fm radio, go to www.sky.fm/skydemos.php
Visit www.sky.fm and www.jazzradio.com and hear some great music!
|
