Sometimes musicians are guilty of not thinking much about composers. We open a book and there's some music printed there, and we play how we think it goes. We might puzzle over the composer's 'intentions' and debate whether it's important to play exactly what they 'meant', and how we can possibly know that if the composer lived 300 years ago.
I have never considered myself a composer. I've written short compositions as answers to theory exam questions. I wrote a flute and piano piece for a competition run by Flutewise magazine many years ago (it got some nice feedback on the melody but I forgot to leave the flute player enough room to breathe!). I wrote some bits and pieces for composition classes at Uni, and my setting of the words to 'Down in Yon Forest' was performed by the University choir at the Christmas service one year. I started work on an LCM composition diploma a few years back, arranging a piano piece for a wind trio. I've arranged a few of the local Sheffield carols for our flute choir. I'm still not a composer though.
There's a risk of a bit of a 'them and us' feeling between musicians and composers. We could see the people who write the music as some sort of anonymous authority figures, imagining them to create these perfect finished pieces out of nowhere. Rather like the idea that 'good' musicians can just perform a piece first time, it's quite off-putting if you think about composing and imagine that you can only do it if masterpieces pour instantly from your pen (or computer software). Both things are a process and involve hard work!
I've been lucky enough to work closely with some composers over the last couple of years. At Sheffield Flute Choir, we've worked with local composers Tim Knight and Jenny Jackson as they produced new works for flutes. Jenny ran a workshop on composition for flute this year, where I got to work with budding composers as they learned about the composing process and produced a piece for solo flute in just one day - this was an amazing experience to work with people writing music from the very start, to talk about how they got what they wanted it to sound like onto the page, and how I as a player interpreted what was written down.
I've played brand new works by all of the Platform Four composers, seeing pieces evolve as rehearsals progress. I've met the lovely Keri from Masquerade Music, and the equally lovely Rob and Lynne from Forton Music, who are all running small businesses writing, arranging and publishing music for woodwind. I've performed pieces by David Barton - you can find us playing his 'Imagination' on YouTube here. I've also recently been reviewing new sheet music for Pan, the British Flute Society magazine, from publishers big and small - and it's struck me that it's a great privilege to be trying out this music that composers have sent out into the world, hoping that we like it. While we might worry about 'getting the composer's music right', they worry about whether it's playable, enjoyable, too hard, too easy, ready to be heard.
Social media also brings us closer to composers, hearing about the process of writing music (and all the other things going in their lives at the same time too!) - it's through social media that I've discovered the exciting new flute music of Nicole Chamberlain and the utterly joyous 'An Harmonic Disquisition Upon Various Types of Cheese' for piccolo quartet by Brandon Nelson.
I've recently read Brandon's new book 'Writing and Living in the Real World: Advice for Young Composers'. This is an excellent guide for anyone who wants to write music as a career (or part of a career). It isn't about how to compose - other than some good ideas about time management and motivation - but covers the practical side of getting your music out there: publishing and marketing. There's also some very thoughtful chapters on originality, creativity and artistic identity which are worth reading by anyone who has or wants to have a creative career. And far from the idea of the composer up in their ivory tower magically creating masterpieces, it emphasises the importance of sitting down and putting the work in: "Keep writing. Even on days you "just don't feel it"."
So, back to being a composer (or not). I haven't found myself struck by inspiration out of nowhere. However, I have found myself in need of more duets to use with my students - ensemble playing is so important (and fun!) and I'm endlessly trying to find enough pieces to fill the gap between easy and difficult duets. Many of the composers/ publishers above have some great books, but I always want more. I've also had a few conversations this year about the fact that more of us than ever have 'big' flutes (alto, in particular, and bass) and we always need more things to play on those. I want music that will work if I take my alto along to a lesson - both for me to play and to introduce students to it when they're ready. So, I decided to try and write a few duets to fill those gaps. I'd been doing a lot of work with students on discovering the Baroque dance forms that appear in so many flute pieces, so those seemed like a good place to start - writing my own simple versions of those. I used the key signatures and rhythms that students are familiar with from around Grade 3 standard. I deliberately didn't add any dynamics or articulation so they could practise working out their own in preparation for real Baroque music. And because I like to tie music theory in to what we're working on, the harmonies are mostly nice and straightforward so that students at that level can analyse it and figure out the chords and cadences. So this is very much composing with a particular (educational) purpose in mind, but they're hopefully enjoyable tunes too! If anyone else thinks they would find them useful for teaching or just playing, I've uploaded a few for sale at Sheet Music Plus, including a silly seasonal one... and yes, there is a bit of a theme to the titles!
To the real composers I know, have met, have worked with, follow on Twitter, or just encounter your music - thank you for your hard work, persistence and bravery in sharing your work with the world - we might grumble about you sometimes ("you want me to play WHAT?!") but where would we be without you?
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