The Writer’s Corner

Hi everyone,

I was wondering what ideas you might have regarding dramatic writing? In other words if a client said to you, “I need a melody that says “adventure,” perhaps as underscore to a scene in a movie or music bed, what would you do? Would you simply run to your instrument and start pounding out ideas until something came out that you liked? Or, is there another way to approach this? What are qualities of a motif that says, “adventure.”

Let me know our thoughts,

All the best ~ Jerry

And now, after all of that “sweat” has poured out of you, you can go into the non-music business area called “Desktop Publishing!” I say this because you are going to extract the parts from the score - either by hand or music notation software. Either way, you need to set up the individual pages in such a way as to be easily read. A couple of helpful hints:

1. You can extract (or “copy”) the parts from the score in any order you wish. It’s usually a good idea to check off each part on the score as you go, so as not to forget one (It wouldn’t look good for you if you got to the session/rehearsal and were missing a part).

2. Make sure that measure numbers, rehearsal information and double bar lines are all properly placed. When laying out the page, try to place all double bar lines on the far right. Conversely, new sections should start on the far left. These last two sentences simply make it easier for the player to read.

3. Check over each extracted part for missing accidentals, dynamics, note stems, articulation, wrong transpositions (even for one note), and missing beams. It sounds fundamental, but it is very easy to make a mistake at any time. So, whenever you check over a part, a copying mistake or left-out information is almost always found—even in professional work. It only makes sense then to take two minutes to check your work. This last step can be done after all parts have been copied or after each part is completed.

4. If multiple pages exist, be sure to tape each page (edge to edge). This will help insure that the pages won’t be falling off the music stand in the middle of a performance.

Until next time,

Jerry

Extracted Part

Hi everyone,

If you’ve spent a lot of time (and erasers or electricity) on the lead sheet and sketching stages, this part should go easily and actually might be fun. Now you’re just transferring information that’s already been slaved over - in a neat and precise way. The most grueling part is usually in the sketching stage, because this is generally where you have to create. Creating is not always easy. The end result, however, is worth it.

1. If working in pencil, transfer all information from your sketch to the appropriate staffs on the score page. Double and triple-check this process. It is at this point that many mistakes can and will occur. The best way to work is a page at a time. Start at the top of the page (in this case, trumpet), and work your way across and then down the page. If you start, for example, by putting in the rhythm section first, you’ll smudge the lead on the score paper as you rest your hand or arm on the lower parts.

2. Write in all dynamics and articulations that you wish to use. Don’t forget about measure numbers for every measure, as well as rehearsal markings that you’ve already written on the sketch.

3. When you feel that you’ve completed the scoring process, go back to the sketch, and make sure that you’ve transferred everything the way you want it-especially harmonizations of any kind.

4. If you are using a notation software program such as Finale or Sibelius, the notes are already input ino the staffs. You should now “format” the pages for the number of measures and systems per page - it won’t necessarily be the same on each page. This can be very tricky but remember one thing: It is better to turn a lot a pages and be able to easily read the music than having less pages but the font is so small (more measures) that it can’t be easily read. Also, try to get all double bar lines (ends of sections) to appear on the right side of the page. In this way the beginnings of sections will all appear on the right.

5. I can’t emphasize enough how important it is to proofread your work at all stages. A mistake made (wrong pitch for example) in the lead sheet or sketching stages will show up in the scoring stage as well if not found.

In my next post I’ll finish the process and talk about part extraction, which is historically known as “copying.”

Until then,

Jerry

Completed Score Page

Hi everyone,

Continuing along with the theme of my last post (”The Arranging Process Stage 1 - Lead Sheet”), I’ve written a few guidelines for what I think is often the most “painful,” but most creative part of the whole process - Sketching.

Sketching Stage (1-4 staffs)

1. Compose some initial ideas for the intro—even if you don’t use them later. Often, an intro idea I create isn’t used in the end because I’ve thought of a better one as I work through the music. As I get toward the ending of the arrangement, the introduction becomes clearer.

2. Start laying in the melody and chords.

3. Write the melody for the complete form that you’ve decided upon. Indicate what instrument plays the melody where. At this point, you should also be writing all rehearsal information, such as double barlines, rehearsal letters (or numbers), and measure numbers. You can also make notes as to where you might want full harmonization, unisons, octave unisons, two-part writing, etc. These treatments of the melody can be sketched in now or in a later step.

4. Work to the end of the melody (where the form ends), and write in any ending ideas that you might think of. Again, these might not be in the final score, but by now, ideas are probably starting to flow as to how you will treat the ending (and possibly, how you might redo the intro).

5. If you haven’t written in the harmonization (or “treatment”) of the melody, go back to the beginning, and do so now. Also, write in any additional background ideas or fills. Try to sing the melody from the beginning and visualize where these might occur.

6. If you have time, even if it’s just a few hours, put the sketch down. Try to put some time between the sketching stage and the scoring/orchestration stage to follow.

7. If you’ve been lucky enough to take a break from the sketching stage, go through the two- to four-stave sketch, verifying all information that you’ve written. It’s perfectly okay to change various aspects if you’re not satisfied, as this is the easiest time to do it. This might even be the time that the ending and/or intro that you really want to use makes itself clear to you. If you’re not satisfied with what you have written to this point, you may want to make another draft sketch (or two). This is not at all unusual, and it is a great way to really get to the heart of the song. The best ideas are not always the first ones that come into your head. Going any further in the process will not make your arrangement any better. There is a point, however, where you have to draw the line and accept that your chart is as good as it’s going to be.

These are just a few of the main details that can be worked out at this point. The idea is that this is the time to explore rhythms, voicings, harmony and form. Certain aspects can still be changed, but the big issues such as form, final key, tempo, voicings background and introduction/ending ideas should be all worked out.

Next week - the fun part, “Scoring,” or creating the score. Until then,

JerrySample SketchSample Sketch

This topic, divided into four stages, is a walk-through of the way successful writers often work when arranging a song for a client (or themselves). There are variations to this process, but the bottom line is that you can’t begin copying or extracting the parts until the melodic rhythm and key are decided. In time, you will develop your own procedures for writing, as well. Efficiency in your working time is very important. This is especially true in the commercial world, when deadlines are tight and truly, “time is money.”

While reading through this topic, you will find some references to writing by hand—still my preferred method of working. These references can easily be transferred to mouse clicks!

Lead Sheet Stage (basic harmony and melody to be used)

1. Don’t be afraid to listen to previous recordings of the chosen song for stylistic possibilities.

2. Decide on the style to be used.

3. Acquire a lead sheet. If no lead sheet is available you may have to transcribe a previous version to get a foundation for your melody and harmony first. Then:

1. Reharmonize (use new chords) if appropriate to the style.
2. Rewrite melody in the new style and meter. Most lead sheets are include only a basic version of the melody and harmony.
3. Settle on a basic tempo.

4. Determine the form that you wish to use. This will depend greatly on the media that this will be written for (see last week’s post).

5. Think about what instrument(s) you want to play the melody, and make notations on the lead sheet as to what instrument and where (”A” section, who plays the melody; “B” section, who plays the melody etc.). Notes as to possible harmonization points can also be made at this time.

6. If necessary, transpose the melody and chords from the rewritten lead sheet into a key that will best suit the vocalist and other instruments that you’ve chosen.

In my next post I’ll talk about the next stage - sketching the musical idea. This is typically the most difficult part of the whole process of writing. Until then…

Jerry

A typical instrumental lead sheet.“Foggy Day” Lead Sheet

Hi everyone, welcome to my blog!

A writer of music (composers, arrangers & songwriters) frequently needs to work fast, efficiently and cohesively to get the completed composition, song or film cues to the client before deadline. Over time, it has become clear to me that composers also need many tools, or techniques, in their arsenal to create this music and meet the demand. This is particularly true in the world of commercial music where deadlines, and the threat of “never working in this town again,” are ways of life. The thought of the downbeat, or beginning of the recording session, is at 9 AM and you are still composing the music at 8 AM, can be a scary feeling!

To kick off this blog I would like to explore a few ideas that may help us in the process of writing more efficiently and cohesively. The first is to simply organize aspects of the music that you don’t necessarily need a pen for (or computer keyboard). Depending on your specific writing assignment, some of these would be the following, which I call “Writing Considerations”:

A) Instrumentation / Orchestration
1) Vocal or instrumental melody?
2) Exact instruments needed?
3) Soloist(s) - Who?

B) Style
1) Rhythmic
2) Melodic
3) Harmonic

C) Form
1) Intro
2) Verse / Chorus / Bridge - How many/where?
3) Solo section(s)
4) Ending - specific ending or a Fade ending?
5) Total Length - How long should this song be?

D) Tempo
1) Be specific - the difference between 120 bpm (beats per minute) and 123 bpm can be felt.
2. Don’t use terms such as “up,” “medium,” “adagio,” vivace,” to indicate tempo. Again, be specific.

E) Key
1) For Vocalist - male or female.
2) For Instrumentalist - know the range of the specific instrument.

F) Emotional Contour
1) Direction of the Song
2) Intensity levels / where?
3) Climax of the song / payoff?
a) Psychological effect of fades

G) Format (Media) That This Arrangement Will Be Used For
1) Jingle
2) Motion Picture
3) Television
4) Live Performance
5) Radio
6) CD

H) Budget (how much will you get paid?)

I) Deadline/Due Date

I invite you to comment on the above and let me know if you have anything to add. The underlying idea is that there are a great many things that we can decide upon BEFORE writing anything down. This is but one area that will help to focus your writing.

Until next time,

Jerry