24 October 2013
It’s day two of Go Compose! here in Banchory. I am assisting composer Brian Irvine as he guides a group of school-age composers through the process of writing a new piece to be performed tomorrow by Red Note Ensemble on the opening night of Aberdeenshire’s Sound Festival. Our young composers have worked overnight on their scores in preparation for this performance. There’s still quite a long way to go but each composer has made considerable headway.
In all cases, pencil and paper has been abandoned for laptop and notation software. Gone, therefore, are the scribbles and crossings-out of yesterday, but gone too is much of the detail evident in their hand-written pieces. Phrasing has become something added to a musical line rather than being integral to it and there is a general lack of detail in the computer scores at present. Of course, some of this is due to not knowing the intricacies of the notation software, but the computer also promotes a certain fluidity in the compositional process; the composers ‘stand back’ from their pieces a little more and things are often left to be ‘fixed later’.
Of course, there are many pros to using the computer as a compositional tool. Aside from the almost effortless creation of instrumental parts, the ability to quickly rearrange their musical material has allowed the young composers to experiment with structure with comparable ease. The copy/paste function is great in this respect but can also be a hindrance, as one composer found out when copying sections of his riff-driven work: the resulting pile-up of material may have been musically satisfying but was also confusing to read and play due to the way the copied material fell across barlines of mixed-metre.
Jackie Shave (violin), Ruth Morley (flute) and Robert Irvine (cello), the three Red Note musicians in residence here at Go Compose!, read each iteration of each score with the same precision and commitment they show towards work by established composers. They all have considerable experience of performing new music and are an invaluable resource to the young composers. They are always on hand to answer questions: today’s most popular queries all concerned the confusing world of double-stops on string instruments.
The most common questions to Brian and myself all relate to structure: ‘I’m not sure how to extend this passage’ and ‘I’m not sure how to link these ideas’. The young composers have no problem inventing new material but integrating it into a larger, coherent, musical structure can prove to be a bit of a headache. They have each been asked to write a piece of five minutes duration, no easy feat for an inexperienced composer. However, they have been encouraged to experiment and, as a result, each young composer has taken a different approach to musical form; some have attempted to blend and contrast different sections of music whilst others have deliberately developed limited material.
The composers will need to have their scores completed by 11 o’clock tomorrow morning in order to allow time for final rehearsals. Despite a promise of an earlier-than-normal start tomorrow, one or two seem a little daunted by what they have to achieve by tomorrow morning. Their audience awaits…