“Dear, Alain

“I am able to write short one-movement pieces (2-4 minutes). However, I find it difficult to write convincingly or interestingly for longer streches of time. How can I achieve coherence and thematic unity in larger musical structures?”

- Javier Canseco, student composer at HCC Holyoke, USA.

Hello Javier,

That is a very good question, and a big problem for all composers. I will avoid discussing standard forms but instead will give you a flexible guide to discovering your own path.

First you have to find what you want to achieve in long forms.

Ask yourself this: What pieces of long form do you enjoy listening to? Which ones do you feel do not overstay their welcome?

Everyone’s answer will be different for this, beauty is in the eye of the beholder and all that.

Then break down the form using timings, not measures. Music is experienced in the context of time, thus form (balance and symmetry…) is achieved on that basis.

Figure this out and you will have set some personal goals to shoot for in your own writing, then you can grow from there.

I would also suggest writing some Theme and Variations as exercises. Longer form generally require that you present your ideas in many different shades.

The Inventions and Sinfonias of Bach are also a good place to look for manipulation of material.

Another place to look, and this is a personal take on it, is at movie structure.

The entire film is broken down into short scenes of a few minutes in length. Each scene, ideally, has a logical self-contained structure (beginning, middle and end) while also serving the film’s material and overall form.

Since a scene in a movie will last only a few minutes, your current ability to write 2 to 4 minute pieces can be seen as the foundation for writing larger works.

Here is one way to go about it; think of the form of your larger piece, plan it out, then break it up into smaller sections – or “scenes “- of a few minutes each.

Each of those scenes must make sense on their own and together form a convincing dramatic arc.

Have fun writing,

Alain

Is a title important for a piece of instrumental music?

Yes.

Even if the piece is non-programmatic and just intended as pure music?

Yes.

Even if the piece is classical?

Yes!

The title is the first thing a prospective listener sees, it is a part of what makes the listener decide whether or not he/she will invest any time listening to your music.

And in a world where we seem to have less and less time, how a person chooses to spend time is a very important decision!

So that title, lost in an ever-increasing sea of music, better grab that right listener, get the curiosity going, the interest peaked and the speakers going.

But what kind of title? Well, that’s my big problem these days.

Getting the right tone, the right attitude, something that says “classical” but also “fun”, “contemporary”, “new”, but without being pompous and arrogant.

It’s not easy.

Personally, if I see a piece called “Allegro” or “Andante” by a modern composer I tend to skip over it. I might be missing out, but that is what happens. I have limited time, and boring titles tend to make me think the piece will be boring as well.

On the other extreme, I usually avoid pieces with flowery and pretentious titles. You know, things like “As the bird flies in the sky of intense, unrelenting boredom” or something like that.

So this is why I still haven’t chosen a title for Sandro’s piece.

Here are my options…

1. Storm of Whimsy
2. Resisting Euphoria
3. Edge of Catastrophe
4. Skipping Through Mirrors
5. Laugh at the Thought

Any suggestions?

On Tuesday I completed the piece for Sandro, fully engraved and looking beautiful. I emailed it over just minutes before I had to go teach.

I was quite nervous about how he would receive it.

I know, the most important thing is that I was happy with the piece. I put all I could into it and it is truly a notch above my previous efforts in many ways. And I would enjoy listening to it as well.

I know that being proud of my piece is the most important thing, but it is only natural that I want Sandro to like it, right?

So I was nervous. As soon as I came back from teaching I ran downstairs to check my email and… no note from Sandro.

At around 7 the phone rang.

I picked up and there was a brief silence at the other end after which a hesitant voice spoke, “Hello, could I speak to Mr. Alain Mayrand, please?”

I thought, man, not another damn telemarketer. My God, they call all the time! I had a cold and was not in the mood.

I almost burst out right away “Listen, I have no time for this right now, will you guys just stop calling!?”

But instead I kept my cool and answered in my most deadpan, don’t-mess-with-me voice “Yes, this is me.”

“This is Sandro Russo calling.”

My jaw dropped. Boy, was I ever glad not to have answered hastily!

What a treat it was to finally speak to this great artist, to add a voice to the emails and pictures. I was so relieved to hear how he was enthusiastic about the piece and couldn’t wait to get going on it. He said he considered it a major work (I would like nothing less, of course, but only time will tell.)

We had a great talk about many musical things and I got a glimpse of his quasi spiritual view of his role in music. A true pleasure.

So now that the piece is done, engraved and sent, it is time to pick up the papers strewn all over my studio. It is a strange feeling to finally take down the theme, which has been hanging over my writing board since March 10th.

There is a bittersweet quality to completing a project, and a great satisfaction as well, and nothing could have better ended this journey that receiving that surprise call from Sandro.