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Composing at or away from an Instrument There has always been some
debate over whether it works better to compose music at one’s instrument, or
to compose in one’s head away from the instrument. Some composers such as Beethoven |
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and Stravinsky famously preferred writing at the
piano. Meanwhile, other great
composers have found writing in their head to lead to higher quality
composition. There are benefits and
drawbacks to each method, and each composer should weigh which one suits his
or her own writing style. Composing at an Instrument Writing at an instrument
such as the piano provides direct contact with the sound. This has several benefits. First, it can help to bring out or shape certain
sounds or styles. For example, trying ideas
on a saxophone might inspire the composer towards more melodic writing. Or writing at the piano could help organize
or structure the music, before orchestrating the idea and writing for other
instruments. Second, playing at the
instrument allows the composer to make use of his improvisational skills,
which in turn provide usable material for pieces. Third, writing at an instrument can
sometimes be necessary especially in modern music, due to the complex
harmonies. However, one downside is
that if the composer does not have proficiency at the instrument, he might still
not be able to play and hear his ideas. Composing away from an Instrument Many composers and
instructors recommend the approach of composing away from the piano or any
instrument. For example, Shostakovich
and Prokofiev often felt that composing away from the piano led to higher
quality themes and ideas. Other
composers such as Bach and Mozart would often compose music completely in
their head, arranging and organizing the works on paper. Many jazz musicians as well have found that
writing in the mind can take their music to a different level. What are the benefits of
this approach? It allows the composer
to focus solely on the music, without being influenced by habitual patterns
on a piano, guitar, or other instrument.
The composer can develop a strong impression of a musical idea all by
itself, not covered up by instrumental technique or patterns. Instead of directing energy towards the
performance aspect, he or she can pursue inspiration and creativity from the
world at large. The composer can take
a walk in the hills, sit in a café, or watch people on the street—and these
could lead to ideas of melodies and emotions to express which are completely
different from what might arise at the piano. In the end, each
individual composer will want to experiment in general and for specific pieces
as to what method works best for him or her.
Many composers find a combination of the two works well. The will consider an idea in their mind and
form a strong impression, and then go to the piano to hear how it sounds and for
refinement. |
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All articles (c) 1999-2006 by LIFTOFF! |