Listening Like a Composer

On August 27, 2006, the New York Times published a review of Francine Prose's book, "Reading Like A Writer: A Guide for People Who Love Books and for Those Who Want To Write Like Them." The review was written by Emily Barton, and makes some salient points that we as composers might heed.

The subject at hand is: How do you teach this art? There aren't too many good books out there that teach you how to be a writer (or a composer).

In her review, Barton points out that a

"difficulty faced by writing teachers is, paradoxically, the lack of interest many students show in reading."

Isn't this true amongst many composers, too? How often do we listen to something new, or do we always go back to the same standbys when we listen? Are we frequent concert goers, do we splurge on CDs by new composers, do we show an interest in composition?

Part of the problem is that reading (or "listening") can be a chore. Who wants to be force-fed something they are not interested in? In her book, Prose suggests that we need to savor the experience, and that to do so

"may require some rewiring, unhooking the connection that makes you think you have to have an opinion about the book and reconnecting the wire to whatever terminal lets you see reading as something that might move or delight you."

In other words, go out and listen to some music just for the joy of it!

When to Ignore Critics

So, lately I've been thinking about the careers of some cinematic giants. Consider Woody Allen and M. Night Shyamalan. Here are two writer/directors who produce a new movie very reguarly. You can tell that these are disciplined writers who make their creativity a priority.

Now, it is also true that sometimes the efforts of these directors are not much appreciated by the critics!

In contrast, have a look at the career of Quentin Tarantino. Since he struck it big with "Pulp Fiction" (1994), his output has been minimal. He has done some television work, sometimes as an actor, but you have a sense that he must be a blocked writer somehow. Francis Ford Coppola was never able to overcome the towering heights of "The Godfather" movies. Yet, Martin Scorsese has managed to make a very interesting movie every few years.

What's going on here?

I guess that's the danger of having some big success with a project -- "Pulp Fiction" in Tarantino's case, "The Sixth Sense" in Shyamalan's case. How do you top it? 

The answer, of course, is to keep creating. Try not to worry about what the critics will say. (And especially, try to avoid your own internal critic!) Don't worry about topping yourself; keep your discipline and keep working. After all, Woody Allen and M. Night Shyamalan and Martin Scorsese will always be able to look back on a larger body of work than, say, Tarantino. 

So I encourage you, as composers, to have a large body of work. Besides, unlike movie makers, you don't need to raise several million dollars to get your art out there!

Hierarchies Matter

Bear with me on this one.

I was chatting with Joe Ravo, a guitarist who also happens to be a computer tech wizard, and we got to talking about the start of the internet. Back in the 1960s and 70s, the US military began a project called ARPANET. One of their goals was to decentralize communications, so that in the event of war the military's communication would not be wiped out with one hit.

Likewise, with the present-day internet, we like to think there is a lot of decentralization. But is it so? Google's way of codifying the internet gives priority to web sites that attract a lot of attention. For instance, Google recognize's that more people are likely to search for Wendy's, the fast food chain, rather than my friend Wendy. Google understands the importance of forming data into a hierarchy. If Google gets taken out, that's going to affect the internet a lot more than my friend Wendy's web site disappearing.

Joe and I talked about the nature of things being broken up but returning to their natural order -- another example is AT&T. In the early 1980s the company was broken up into smaller pieces. Here today in 2007 it is back together, stronger than ever.


(Joe Ravo recommended the book Linked for more on this subject.)

Well, for whatever reason, this reminded me of tonality. In the 20th Century, there was an attempt to decentralize tonality. From now on, music would not be organized into a hierarchy of key and chord progressions. But something there is about human nature and the nature of music, the way we listen, that drives us back to organizing music into a hierarchy of, if not key exactly, related notes and motifs.

Recycle vs. Repurpose

I am not a big fan of revising your music. Once you've got things set, and once the music has been performed, it's time to let it go and move on to your next piece. The way I look at it is this: That piece of music is a snapshot of who you were at the time you composed it.

If there are obvious errors or oversights in your score, yes, by all means correct them.

But to the question at hand: what about using your own material in fresh, different ways? More and more I learn this is a tried and true technique, and you should definitely consider it.

For instance, my Three Songs of Carl Sandburg was recently performed again, and a request came up to rescore it for soprano and marimba. Well, why not? I've come to learn that many very big names in composition reorganize their music to fit the bill, whatever that might be. Something you wrote as a movie theme might become the basis for a symphony, etc.

This is especially useful during any time you feel "stuck" and don't know what to write. Repurpose your older music for a new venue, and continue to keep writing every day. This will help you keep your discipline and may even lead to some fresh, new inspiration.

Announcing Richard Russell Concerts Blog

I've been thinking about this for several days. Lately, I've been posting more and more of my own concert announcments and news here on this blog, which is supposed to be about your composition career, and ways to be creative. I don't want folks who come here reguarly to read about such matters to give up on this blog.

Yet, at the same time, I want my loyal listeners to have an avenue of keeping up-to-date with my performances. And suddenly, the solution hit me: Why not have two blogs?

So, I'm please to announce Richard Russell Concerts and News.

Please do me a favor and subscribe to this blog by putting in your email in the box on the lower right of this page. You'll continue to get my insights on Creativity and Composition via email, sponsored by Google's excellent Feedburner. They (and I) won't spam you. (And while your at it, subscribe to the Concerts blog, too!)

Thanks to all.

Being Honest in Music

Here's a good way to get someone's undivided attention. Ask, "Can I be honest with you?" People will stop whatever they're doing and have a listen to what you want to say.

The same is true in music, too. When you compose, are you being honest? Are you putting "you" in the music, or are you putting on airs? Are you the real thing, or are you wearing the emperor's new clothes?

Sometimes I start writing a piece and I have to abandon it. There's more than one reason this might happen, but chief amongst them is that I feel the music is not communicating honestly.

The shame of it is that I hear many audiences being impressed with dishonest, unlistenable music. I guess you can fool a lot of people a lot of the time. But do yourself a favor: don't fool yourself. Always let your music be an honest expression of yourself.

Announcing the NYCC's First Composition Competition

For composers in the New York area, have a look at the attached competition! The deadline is September 17, 2007.

June 5, 2007 NYCC Concert

I was very fortunate to have the opportunity for my Three Songs of Carl Sandburg to be performed again, sung again by soprano Sofia Dimitrova. The concert was presented at Saint Peter's Church in midtown Manhattan, under the auspices of the New York Composers Circle.

Here are several pics (click to enlarge) from the evening. First, there's Sofia chatting with her mother and grandmother before the concert (with me chiming in on the right.)

Then I am addressing the audience before the performance, saying a word or two about the piece. Followed by Sofia singing (and the tip of my head visible at the piano).

Last, the reception after the concert, with 2004 Pulitzer Prize Winner Paul Moravec in the red shirt on the right. His Vita Brevis was performed by soprano Tiffany DuMouchelle with Julie McBride on piano.

It was a terrific concert; many thanks to all for their support at the concert!

Three Songs of Carl Sandburg

There's an old saying that good luck is when opportunity meets preparation. It SO MUCH pays to be plugged in and always ready.

Quite unexpectedly, an opportunity has come up for me to have another piece of my music performed. It's very short notice: Sofia Dimitrova will be singing my Three Songs of Carl Sandburg on Tuesday, June at 8pm. Click on the flier for a larger image of all the details. A reception will follow: I'd love to say hello to you afterwards!