(This is a re-post of something I posted earlier; now that the mailing list is working better, I’m really looking forward to hearing everyone’s thoughts about this.)
As a player, when sight-reading new music, I really prefer not to see too much information. Sure, you need the essentials – time and key signatures, tempo and the notes. But I’ve played many pieces of music that have so much detailed information that it distracts me from listening to the other instruments. Listening is so very important, and I’m afraid many of us including myself, don’t pay enough attention to it.
Of course, a lot depends on what the composer intends. If the composer has a very clear, specific goal for how a piece should be played, then perhaps there should be as much information as possible? But if the composer is willing to allow for personal and group interpretation, the musicians will be more able to find their own voice in a piece, if there aren’t too many markings and instructions.
Another thing to be considered is: what do the musicians prefer? I’ve already said that I really like openness, not too much instruction and allowing for more interpretation. But I realize that some ensembles and individuals prefer to see a lot of information, and if they don’t see it, they’ll be wanting to ask the composer “How do you want me to play this?”
So, I sincerely welcome any feedback regarding my own compositions and arrangements – I’ve even considered making two versions of each arrangement; one with very little information, and another with a maximum directions! That’s it for today, looking forward to your comments!
John
Here are a couple of thoughts about TMI in music.
I find it helpful to have a general character description such as Andante con moto, Andante espressivo or Andante maestoso.
In my own experience within the classical idiom, I’ve found that original netronome markings by the composer tend to be too constricting at times.
I believe there should be an approximate range rather than a set number.
When I hear someone say “he plays too fast” or “too slow” my impulse is to say: “thank God we all play it a bit differently!”
I also believe that when it comes to living composers they often welcome occasional deviations from their instructions when there is a valid musical reason.They are so grateful to hear their composition performed that they welcome somewhat different approaches.
All of the above makes me think that your idea of making two versions of your arrangements may be an excellent one!
As a horn student in high School in years 1954-55 I attended a wonderful music camp in Weston Vermont called Kinhaven. FYI, Hornist Peter Reit was also a student at the camp but that was many years later. (You should google Camp Kinaven for an introduction to superb Music Center that emphasizes collaboration and sharing rather than the competitive environment surrounding the live music scene). I stopped playing the horn in 1968 but went back to playing again in 1997. After starting to play again, It was my good luck to discover that the camp instituted Adult Piano and Chamber Music workshops for a week during June of each year. I attended the Chamber Music sessions for many summers. The coaches were all professional musicians many of whom were teachers and symphonic players. One day a Woodwind Quintet was being coached and the instructor suggested that we set up our chairs so that our backs were to one another instead of facing each other. The closest to this experience might be playing in the Orpheus Orchestra where listening and total awareness of one’s surroundings is critical. Another parallel might be the specialized senses of a blind pianist, singer or musician whose heightened awareness of his/her surroundings permits a musicality that is often unparalleled. All I can say is the experience I gained from playing chamber music in that configuration resulted in a cognition of how important listening is to the reproduction of music hopefully as the composer intended, but most certainly in a manner in which most of us don’t experience while playing on a daily basis.
Respectfully Submitted.
Your Jazz Horn Student.. Michael Kates
I like the idea of two versions. A university playing a composition for the first time might need more direction than a group that has been playing together for a long time. Also, perhaps composers should find a way to share why they either give little or a lot of information. That would leave no confusion as to their intention.