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Media Composers – Raise the Bar and the Fees Will Follow

September 24, 2019 By Steven Lebetkin

The battle against self-commoditization

Let’s take a look at architecture. Dictionary.com defines an architect as “a person who designs buildings and in many cases also supervises their construction”.

An architect is an artist, a creative artist, and like any artist, there are all levels of talent ranging from mediocre to genius. Not all architects are of equal talent and capability. The same goes for music composers whose throngs are of unequal talent.

Over the last 20 years, the architecture has evolved and embraced technology. The manner in which this has manifest is through the advent of computer assisted design, otherwise known as CAD. These programs (like AutoCad) are miraculous operational and production tools, and generally utilized to create and manipulate geometric shapes into specific designs.

Walk into any medium sized architecture firm and look around. What you will see is physical space that segregates the architects (the “design” artists) from the CAD operators (production). There is even an industry of outsourcing the CAD operators to India and other areas of the world for capable and inexpensive operators.

Make no mistake about it, there are many talented and capable CAD operators. However, CAD is a back-office function, a commodity, priced and billed out at lower rates than the front office creatives (the architects).

Architecture firms run efficiently, and provide a balanced set of value propositions to their clients.

Media Composing – The back-office has taken over the front office

A good friend and composer colleague often says to me “today’s modern composer has to do it all”. Yes, that is largely correct. The trend over the years is for the production aspects to gain inordinate weight in the process. Production technology is wonderful (and many of the production professionals very talented), including DAW’s, sampling, mastering software, and so much more. The back-office has taken over most of the front office, and now rules. And the buyers have bought into it, where the pricing of media composition services has wrapped completely around the commoditized bundling of production and creativity. One size fits all, and fees have plummeted, still dropping.

Now, this is not the case for all. Composers like Danny Elfman, Hans Zimmer can get away with not being able to do it all for one simple reason – they have the money to pay others to do it for them. Composers like John Williams are at the other end of the spectrum, strong on musicianship and orchestration skills, and have the resources to pay for production. Take these same composers and drop them into the market as new entrants and the question arises as to whether they would be successful; I’m not so sure.

The Culprits

Schools and Curriculums Course mixes at schools like Berklee College of Music, NYU Steinhardt, Columbia University, USC Thornton School of Music and others offering media composing programs emphasize a preponderance of production and technology skills. Musicianship skills increasingly take a back seat to production technology. The lure of tuitions of $70,000+ per year has contributed quite a bit to the lowering of standards at these “name” institutions. Composers on the scene today often aspire for recognition and artistic validation in concert halls; unfortunately, the majority cannot do it. They don’t know how.

Professional Societies For decades professionals in every walk of life work hard at brand enhancement before the public (i.e. “buyers”). Groups like the American Bar Association, American Institute of Certified Public Accountants, American Medical Association and other professional groups devote significant resources towards specialty designations, thereby segmenting out the memberships between general practitioners (lower paid) and specialists (higher paid). These esteemed groups work hard towards educating the marketplace of buyers through a myriad of traditional awareness initiatives, such as panel discussions, branding of specialists along with requirements for entry. Imagine, if you would, if these professionals had a “one size fits all” pot. It wouldn’t work, and would quickly lead to commoditization. Professional fees would drop like a rock in a pond.

The Composers Themselves Are they the culprits? Hmmm, I think not. They are the victims, doing the best they can to survive and create music for the joy of others.

Some Solutions

It takes a village. And time…..lots of it. It took years to drive the media composer car into a ditch, and it will take many years and a healthy international conversation to work its way out of it. Brands take time to restore, particularly following long term damage. Here are four areas for improvement. There are others.

Professional Societies, some of which have general membership, and those that focus on gender and ethnic constituents, can do their part by turning their attention towards the relationships between musical content and music production. The production aspects are well oiled at this point, but there is no better way of driving success into the market than composing better music. A refocus on musicianship and advanced composition skills and techniques combined with segmentation of education and branding to the buyers of music for media will no doubt achieve results. Composers will make more, the music will improve, the public will enjoy it, and producers will wind up with better product to sell with greater longitudinal value.

Schools and universities can likewise focus in on the return to higher levels of artistic achievement in the students they accept, educate, and then turn out into the world. It’s important to bear in mind that film composing began with the composition of a symphonic score for The Brothers Karamazov in 1930, the first motion picture with a film score by the classical composer Karol Rathaus. The score came first, the picture came second. Rathaus didn’t need credibility to write for the concert hall.

Professional groups and educational institutions can team up, and begin the long-term conversation and implementation to raise standards. Over time, the supply and demand curve will change, the result of which will be that directors and studios will come around. One size fits all will no longer be in vogue, and composers will be more adequately compensated.

Composers also can do their part, although much more difficult for them. Composers work alone, and for the most part, lack adequate resources to compete. However, they can do their best to work on their musicianship skills, study throughout their lifetimes, and parse out production functionality (low paying) from creativity, where there is room to grow.

Continuing Education In the 20th century, Nadia Boulanger taught hundreds of composers that had already graduated. Composers in film, jazz, and classical (many household names like Aaron Copland to Charles Fox) flocked to Paris to study with her. This is no longer the case for composers in the 21st century. A very odd stigma towards continuing education for professional composers has crept into our culture. Many believe that after graduation, their musical studies are complete, and need only learn more about technology trends and production advancements to be competitive. Nothing could be further from the truth.

Composers and The Future

There are more composers now than ever before in human history. Technology has made vast musical resources available to listeners, and to those that have a calling to compose. It takes more than great ideas to be a great composer. Great ideas need shaping, nurturing – a dedication to craft and detail before new music is ready for the world to hear. Eventually, the market will turn back towards musical content and quality, and away from back-office production solutions that have become the vogue of the day.

Steve Lebetkin is the founder of Composition Online, a pioneer in extended learning for professional composers, and the developer of the Mini-Master Class – Live and Online continued learning for composers worldwide. For more information please direct your inquiries to: [email protected]

The Search For Missing Musical Architecture

September 18, 2019 By Steven Lebetkin

I listen to lots and lots of music. Old and new. Good and not so good. The old(er) I listen to for a variety of reasons, some purely joyful, and some to dig deeper and learn more about lesser known works by well known composers. The new music is primarily because of my work helping composers of all ages learn and improve their craft.

When you listen to and review as much new music as I do, certain patterns emerge. Yes, there is a great deal of talent out there, but there is consistency among the deficiencies noted. This article shall focus on just one of those deficiencies, how to diagnose them, the persistent reasons they occur, and solutions.

A preponderance of new compositions in the market these days, regardless of style, instrumentation, length, venue, or composer age (or gender), lack durability. These worka don’t seem to hang together, oftentimes drifting around, losing momentum, an arch, and other aspects that elude the Holy Grail of music composition – music that bears repeated listenings. I have termed music of a momentary interest (these days including social justice goals for composer groups that feel left out) as “transactional” composition – nice to hear (or at least parts thereof), but not motivating to listen to again….and again.

Diagnosing The Problem Through Reverse Engineering

A not so perfect analogy to diagnose an apparent problem is an automobile. Some cars are focused on the visual – the paint, body, styling, etc – the surface issues. In music, it’s the melody, about which lesser trained and knowledgeable composers focus in on to the detriment of the musical engineering. Composers that wish to be able to learn how to write better melodies would be best served practicing Species Counterpoint. Learn these skills and in a year or two your melodies will be first-rate.

The process of diagnosis the problem is called diminution, where the reduction of the music implies what might be called a “top down” approach – stripping out the music at the surface (yes, the melody) and dig deeper to find increasingly simple diminutions. Take out the melody (like the passing tones and the rest of the ornamentation), and see/listen to what remains as far as chords and their progressions over a continuum. We hear music on a variety of layers simultaneously, and one way to diagnose a problem is to dig deeper and identify the layers of the music presented. It is then that problems emerge that require fixing. Like an auto, we strip off the body, and start examining the parts and see how they interface, then deeper into parts that may be malfunctioning.

As one digs deeper into the various layers of the piece, it often becomes quickly apparent where the weaknesses are. The progressions don’t work, or flow from beginning to end. This is true for short pieces (like commercial songs) and longer pieces and in any style or purpose (contemporary, jazz, film, avante garde). If it becomes difficult to identify the harmonic structure, chances are there aren’t any to identify, and the problems become acutely obvious. This is painful for composers that have not gone through this exercise, but necessary to able to advance their work and achieve greater artistic goals.

How Is Great Music Architecturally Formulated?

By now it should be apparent to the reader of this article that we are not talking about form (like Sonata, Fugue, Ternary, Minuet, or Pop Song), but what we are talking about here is architecture, the musical engineering and neurological mysteries of human recognition of when it is present, and when it is not.

Talented and skilled composers do not spend all of their time on writing in a layered approach, but almost all unconsciously structure their music on a layered basis. As the music travels through time, skilled composers know exactly where they are architecturally and when they veer off course. The level of musicianship and experience in the study of other great works guide the degree of intuitive capabilities composers bring to the composition and editing process. But they are also acutely aware of where they are architecturally and consciously at any point in the composition and editing process. Another way of saying it is – If you (the composer) don’t know where you are, then the listener won’t know either!

Great music can stand up to a rigorous analytical process (which I am calling reverse engineering in this article) because the composers have applied much more than talent and inspiration to their works. Too much work, you say? Well, maybe composing is not for you.

Style And Musical Architecture

In order to really understand how this works, it is essential to set aside any preconceived notions about art and the human experience. The study of musical semiotics and musical sciences (neurologically) is at a relatively early stage, but we do know that all human brains are genetically wired identically. We have the same starting point, after which our environment effects us………to a point. There are sounds and sequences that no matter how many times we hear them, out brains will reject and are unable to digest.

Many composers, in great frustration, reject the study of music and “rules” as inhibiting their individual artistic expression and experience. For example, composers without access to advanced training or even poor instruction will dig in their heels and insist on a free style approach to composition as a better way and affording broader and more meaningful means of artistic expression. Nothing could be further from the truth. While these broad philosophical diatribes may angularly look good on paper, the reality is compositions without solid engineering will quickly go off the road and into a ditch.

The miracle of the human experience includes the broad expanse of music we can hear and enjoy across time periods, and styles. Our brains are positioned to hear and enjoy musical and architectural splendors from Bach to Takemitsu, Brahms to Britten, Ellington to Britten, and so much more. But music without engineering? It’s like driving without a map, and without a destination. Our brains will reject it.

It’s Not Your Fault – The Great University Deception

Many composers have done their level best to go to school, study, practice, work with professors with doctorates in composition, and much more. Yet, despite these best efforts, a great many composers in the world struggle with their craft. Some of this is the result of a lack of capability – not everyone who wants to compose has the requisite talent to do so. However, for many the skill sets, which are learned, are unavailable due to the deficiencies of teaching and knowledge at the university level. This is a sad state of affairs, and largely due to the tenure system coupled with the enormous profits derived from outrageously priced tuition in many parts of the world, particularly the USA. Young students on the way up lack the tools to evaluate the level and capabilities of professors at schools and universities, the result of which is musical educations that are short on musicianship and long on student loans. I have personally watched the decline in the level instruction in my lifetime while the number of composers has dramatically increased to unprecedented levels. This is a sorry state of affairs, and I can only urge the talented to focus on craft and musicianship and continue to learn throughout your life and career. There still remain some wonderful composers on the faculty of universities worldwide, but not because they have the PhD appended to their names.

Sound Design and Orchestration – Sonic Camouflage

The use of sound design – oftentimes is a camouflage for a lack of structure. Look closely at the music of Debussy, Ravel and Takemitsu – masterful composers with a deep knowledge of composition technique and musicianship, whose greatest contributions may have been the unfolding of sound design as a set of composition techniques. Composers since then imitate the beautiful soundscapes of Debussy’s work, but without the deeper aspects of his compositional prowess. Lots of glitter, but not the gold (welcome to the world of DAW’s, music samples, and production). Debussy’s sound design has been widely imitated for 100 plus years, from Messiaen to film composers of the current day, and many contemporary composers enamored with the sound design or effects of his compositional oeuvre While the music composed is often entertaining and enjoyable for the moment, much of it does not bear the test of repeated listenings. Film directors and music editors, for example have often opted for these surreal tonal landscapes to add “feel” for scenes (i.e. music cues), but when extracted from the picture, the music often doesn’t work that well. Music gets chopped up and moves from cue to cue in a transactional approach, for example without regard to key relationships and architectural issues across timelines. (I could go on for many pages about this)

Music From The Inside Out.

Start improvising. Pick out the ideas that feel right. Develop the architecture as you go along. This requires a high level of musicianship. The really talented composers bring in the architecture and structure as they move along in the creative and editing process, some of which is subliminal (a great inner ear that brings in the architecture) and the rest through conscious analysis and decisions on where to go and how things fit in as the composition process unfolds. Composing on a strictly instinctive level without mindfulness of hierarchical structures and how to manipulate the music is a surefire recipe for disaster. Orchestration and sound design will camouflage a weak composition – such music and the composers that create these works are easily forgotten.

This is very hard to do. It may be the hardest part of the composition process. The achievement of a composition of any length that is well conceived and executed on every level and dimension is very difficult to achieve. It’s very hard work. In my experience and in listening to a huge amount of new music in my daily regimen, I find there are few that can do this. Yes, there are incredible numbers of composers now in the world, more than at any time in world history. If you want to stand out, and make a memorable contribution, do the work necessary to achieve these goals. There are no shortcuts.

One of the great ways of expanding your composition skills is through continued learning. Composers that believe in studying past graduation have a much better chance of succeeding. www.compositiononline.com

Composer’s Tools For Discriminating Conductors – Programming New Music

September 17, 2018 By Steven Lebetkin

Composer’s Tools For Discriminating Conductors – Programming New Music

Conductor’s Guild Conference

Ft Worth, Texas

January 13, 2018

If you are a conductor or head of programming or on the board of a symphony orchestra, Steve Lebetkin can help you make better decisions on merit, not gender, when it comes to new music.

Steve Lebetkin, Composer-In-Chief, Composition Online [email protected]

Composition Technique vs. Harmonic Technique

January 24, 2017 By Steven Lebetkin

How They Differ And Why It Makes A Difference

It started more than 100 years ago. The endless fascination with the expansion of tonality – what to do and how to combine the twelve tones of the chromatic scale in new ways. Depending on who you are talking to, Wagner’s tonal expansion led to Schoenberg’s tonal decimation, and then an intellectual cottage industry of academics staking tenured positions through the establishment of their new harmonic systems. Another group of composers that included Bartok and Britten went down a different path, and deliberately focused on the combination of expanded/organized harmonic languages combined with the application of traditional composition techniques dating back to Haydn.

Somewhere along the way the lines became blurred, somewhat deliberately, between the technique of harmonic language and the technique of musical composition. They are not the same. The two rely upon one another that when done well, make for wonderful music for people to hear and enjoy. However, when either is weak, audiences lose interest. One without the other is like a one-legged stool that quickly falters, and down you go.

What Works, What Doesn’t, And Why

It is only over the last 10-20 years or so that neuroscientists have begun to understand how human brains are structured and able to process information, including musical information. The field of neuroplasticity is a huge and complex area (and in its infancy), but it begins to explain the distinctions between the “hard wiring” of human brains (the universal genetic codes we start with) and from there how are brains are elastic – that’s where the “neuroplastic” comes from. (Parenthetically speaking, the late composer Gabriel Fontrier did the initial work on how we hear in the early 1950’s under a Ford Foundation Grant)

Today, musical scientists like Mark Reybrouck are digging deeply into the field of musical semiotics and helping us understand how and what we hear “naturally” and what is learned through the re-routing and development of neural pathways on an individual basis and then across large cultural expanses.

What we know so far is that the human brains are adaptive from a neuroplastic perspective to a point, but no amount of artistic dialogue about expression and how the world will eventually catch up to an artist’s chosen path of expression is a given. Sometimes it just doesn’t work and won’t.

Here’s an example. When Stravinsky’s Rite of Spring came out, there was a significant public pushback. Now 100 years later it seems tame and one wonders what all the fuss was about. Well, look at what happened since then – the public became used to the music and its gestures. The reasons are that many composers picked up on the harmonic techniques of Stravinsky and the neuroplastic pathways of society adapted to accept and enjoy the expanded expression. Also, and of equal importance, the compositional techniques utilized by Stravinsky were based in the work of Haydn. These techniques are part of the hard wiring of all of us. More about this later.

Now look at the atonal work of composers in the same time period in which the harmonic palette was abandoned and replaced completely. One hundred years later humanity’s neuroplastic capabilities still are unable to absorb these changes, and this music remains and will always be beyond the reach of the human experience. But the other problem is that many of the composers who composed in this manner (and still today) have a one-legged stool – only harmonic language while ignoring (or unaware) of fundamental techniques of composition. Again, such techniques are unrelated to harmonic techniques.

Composition Technique And Musical Semantics

Leonard Bernstein had it right in the second and third Norton Lectures at Harvard University in 1973. Bernstein draws upon the work of Noam Chomsky and speaks to the issue of universal grammar – formal universals that describe genetically inherited types of rules of the human mind, regardless of language. Bernstein describes how we digest music from a genetic perspective, regardless of language. He points out that there are some 4,000 languages in the world, but our ability to apply genetic grammar is what is essential in his analogy to Chomsky’s work in human linguistics.

What this means to us from a musical perspective is that, analogously, the harmonic language selected by composers in their work has little to with the application of genetically embedded universal grammar (i.e. “composition technique”). This set of principals in the hands of able composers combined with a choice of musical language can result in digestible and enjoyable music, regardless of the choice of language – well, almost. (The musical language must also be digestible or the one legged stool will still fall down!).

Composition Pedagogy

So, let’s take a look around academia and the books that are available and see what is out there. If one excludes books and treatises on composition whose focus is on musical language (harmonic choices) and the composers who teach the next generation, there is not much left. Yes, there is plenty of material on form, like sonata, fugues, rondos etc., but what about musical syntax, semiotics, grammar or variants? Very little. Good luck finding a book on this.

What about all those composition teachers and professors at schools, universities and conservatories around the world? Do they not know about composition techniques?

Some of them do. Many do not. The ones that do were fortunate to learn this great art from a teacher that passed on this knowledge to them and can in turn pass this on to the next generation of composers. Unfortunately the disintegration of tonality and substitution of a variety of questionable musical languages spawned several generations of composers without a foundation in compositional grammar; language became the complete substitute. And today, commercial composers are in too many instances short on composition technique and long on sound design.

Composition Techniques – A Brief Primer

The literature on harmonic and contrapuntal techniques is vast. The literature on musical syntax is light, to say the least. Therefore it would be impossible to describe in this short article the detail of compositional “grammar” that is deserving of at least an entire book on the subject. However, here are some of the highlights, each of which could become a chapter in a book on composition techniques.

Controlled repetition – Once, Twice, Three times you’re out. The art of repetition of notes, phrases, and other short musical gestures developed by Haydn and Mozart. These make or break techniques can be learned to enable non-musician adults to better understand why they enjoy certain pieces and why others miss the mark. This is where craft begins and ends, and where art and genius take over.
Temporization – is like a roadside rest on a long journey. This musical and compositional technique provides listeners with a brief break, almost like “active rest” in a difficult workout, so that the music continues without interruption but in a way that allows the listener to emotionally take in what they have heard before moving on to the next moment of musical interest.
Staggered Melody – Melody, whether played or sung (and in any register) is almost invariably accompanied by one or more instruments. There are three ways in which this occurs: 1) Melody first, then accompaniment 2) Accompaniment, then melody 3) All together (“tutti”). This technique applies to music of all styles and genres, from classical to the most contemporary of commercial and popular songs of the day. The compositional technique of Staggered Melody is the one most often omitted from composition classes at universities throughout the world, a frequent deficiency of pop songwriters, composers of scores in media, and throughout the remaining market. When unrecognized, the result is music that is lacking in an unidentifiable way, particularly by those involved in music creation and/or production to then improve. When addressed, the differences are striking.
The “Sounds” of Silence – When the music stops, the beat goes on. It’s all about heart. We all have a heart, which beats in pairs, so when you think the music has stopped, your beating heart takes over. Learn, for example why it’s so difficult to dance to a waltz. Two legs, three beats. Do the math.
Where is Sound? Why Schoenberg Lost His Footing – Ever wonder why all humans hear music in much the same way? Music in the brain – the overtone series, the structural foundation of Western music, is hardwired and the brain creates its own sounds that may not appear in a music score. It’s magic! It also rejects sound combinations that the brain is not wired for, hence where atonality fails.
Sound Kernels – The “real” new musical language of the last hundred years that works. After Richard Wagner stretched tonality to the breaking point, composers went into two directions in the race to provide listeners something to hold onto and prevent drowning in a meaningless sea of sound. Some composers reached for organized pitch structure (like twelve tone tonality and serialism), but others, like Bela Bartok created little worlds (“Mikrokosmos”) that became the foundation for new integrated and completely accessible languages that only apply to a single musical work at a time.
Glue – What keeps a piece from falling apart at the seams? Glue! The use of common tones to support chord changes in the music is essential for musical continuity. Music in any style that lacks at least one note that is common to the next chord or change in the music will fall apart. It can be quite disturbing to listeners; they will be unable to verbalize why, but they will sense there is something wrong and the music doesn’t hang together. This principal of music composition is essential for the enjoyment of music in any style, whether classical, film, commercial songs, or any other venue. This is how we hear and enjoy.
Just The Right Next Note – The Principle of Musical Inevitability, the Holy Grail for composers, is the ability to compose music that when heard by listeners impresses as a series of perfect choices from beginning to end. From the initial idea to the final note, this is a “wrap around” technique for which each traditional composition technique constitutes the grammatical and syntactical tools for the language of music, then applied to improvisations in an organized way until the achievement of a completed composition. Great composers hear music and make choices based upon their best perception of the human experience and how we hear music – vertically (a moment in time), linearly (moving forward), and contextually retrospective (current sounds in relationship to what has been heard previously)

Who Is To Decide What Is Art?

Over the years there has emerged in our society this strange idea that the great composers of commercial and serious music were better off without the rules that stifle creativity. By and large those that espouse these ideas are those that haven’t made the effort to learn craftsmanship. Pure laziness. When peeling the layers back of those whose examples of great achievement that aren’t musically trained we see that those with significant training are just behind the scenes. Lennon/McCartney had George Martin, Duke Ellington had Billy Strayhorn, and many more examples.

There is great talent in the world, much of it unshaped. Learning one’s craft will enable those with talent to write a better “book” in any language. Or musical composition.

Composition Online

There is a huge need for composers to learn more after graduating from music school. Few choose Phd. programs, which rarely provide much value to advancing the compositional skills of composers. Composition Online is one such available environment for composers to learn more, including the most advanced professional composers in the market.

Steve Lebetkin, Composer In Chief, Composition Online, [email protected]

Just The Right Next Note – The Stuff They Don’t Teach In Music Composition School

October 10, 2016 By Steven Lebetkin

Just The Right Next Note

The Stuff They Don’t Teach In Music Composition School

I recently came across a facsimile manuscript of a Beethoven work for a chamber group, filled with cross outs, crowded changes, extended musical staves with additional notes and margins, a calligraphic mess. Beethoven’s sloppy scores containing ingenious music are the stuff of legends. But what does this tell us about the compositional process?

The hunt was on. Beethoven was searching for Just The Right Next Note (or passage), not satisfied with a musically correct one, but the very best choice. Yes, the key word here is choice; the mathematical possibilities of choices for next notes or passages is seemingly endless, but consistently making the best choices along the way is the make or break goal. How is that achieved? Keep reading.

It wasn’t until I learned to compose effectively with modern music notation software (i.e. word processing for music notation) and in my late period that I began to understand why the Beethoven sketches are so sloppy. In order to compose music that has real drive and what I call the Principal of Musical Inevitability, it takes an enormous effort to find the most exciting notes to follow all the notes that have come beforehand. Manual transcription is very difficult to achieve during the compositional process. The pen or pencil gets in the way. Modern notation programs make it easier to find just the right next note to follow and notate (and save) the choices more quickly. Herr Beethoven, I get it – the struggle was writing it down as quickly as you heard it. Mozart was the exception – doing all the sketching and simultaneously in his head. There are no Mozart sketches, only final scores. For those of us composing at a high level (particularly late in life composers) there are very few sketches. The preponderance of composition and editing takes place in silent thought.

The Principle of Musical Inevitability

CcGreat composers hear music and make choices based upon their best perception of the human experience and how we hear music – vertically (a moment in time), linearly (moving forward), and contextually retrospective (current musical sounds in relationship to what has been heard previously)

The Compositional Technique For Achieving Musical Inevitability

First things first. Before one can consistently compose exciting music that maintains continued interest from beginning to end, a composer must be facile and at ease with the Primary Techniques Of Composition (Hint – they have little to do with harmony!). With these syntactic tools firmly under control, here are the steps that embrace this essential technique:

Playback of the score composed thus far in your mind (not physically or electronically. Understand and feel the musical and emotional gestures, whether motivically, short phrases, or large movements. Keep all that precedes the moment at top of mind (including multi-movement works).
Let your mind’s ear take you to the next note and section, while maintaining a keen awareness of all your compositional tools at all times.
Edit, edit, and edit some more.
Come back another time and listen again with a fresh ear (in silence). Keep editing.

Tension And Release Sensitivity – Not The Kind You Would Think

The concept of tension and release is generally associated with the cadential resolution of a dissonant chord to a consonant chord. But there is another type of tension and release that advanced composers are especially sensitive towards, particularly as directed towards the goal of achieving Musical Inevitability.

Skilled composers look at tension and release across time horizons and in an adjusted manner. They look at how and when to crank up the tension AND BY HOW MUCH, and in relation to what has occurred previously in the music. This is really complicated stuff, and composers rely heavily on instinct to identify and relate to the peaks and valleys. Composers are looking at and identifying the depth of the valleys preceded emotionally, the heights of the emotional peaks that are to come, and measure/grade them to maintain drive, avoid disinterest, establish and mini and grand arches, and work towards the final resolution through release to end the piece. This is not mathematical, but it is very much a part of the conscience creative process and planning.

In multi-movement pieces, this is even harder to achieve. Each movement, film cue, song, aria, instrumental interlude, must work on its own as an independent/standalone work. However, to compose effective music for a large scale work, whether symphony or film music, the composer’s challenge is to plan for and execute a broader and more complex scheme to relate all the movements (or film cues) in a way that takes into account deeper retrospective and contextual experiences across timelines and that are emotionally cohesive. This is not easy to do.

The Joy Of Composing Music That Is Inevitable

I have been listening to, studying and composing music for my entire adult life. The joy of musical composition is the processing of making the best choices, from music written before each moment, to select just the right next note or phrase and move the piece forward beautifully. And then to do it again and again until the piece is finished. This feeling is the wonderful joy of creation for me and composers before me that we reach for in our creative lives; it is why we are here and what drives us to write the very best music that we can. We know when we listen to a completed work that has been gestated and birthed from us when we have achieved a sense of inevitability, and it’s wonderful.

Composition Online

There are more composers now than every before in human history. Composers need tools to remain competitive. Composition Online provides a Live and Online environment for continued learning.

Steve Lebetkin, Composer in Chief, Composition Online [email protected]