12 books for the growing career

ReWork everything you doI’m working hard on my next #PsalmQuest piece – a concerto for Bass Clarinet and Strings, and it is going well, but with the holidays and lots of travel it’s been hard to keep up. Should have something to share with you in a month or so.

In the meantime, here is a list of 12 books all budding/ growing… people should read (At first I wrote “musicians” but realized there is a great deal of info here that is relevant for anyone trying to grow a business or even just their own career, even in the music-related books!).

If you or someone you love is trying to build a [music or other] career, these books will come in most useful. And if they say they have no time to read, unsubtlely mention that reading 10 pages a day (about 10 minutes) takes about 20 days to read an average size book. All 12 of these recommendations can be read in 2014!

  1. Where’s Your Wow? “When was the last time a product or service made you say, ‘Oh Wow!’? This wonder of a book will show you how to create that same magic in your own business.” Ken Blanchard, coauthor of The One Minute Manager® – I love making people say “wow” and try to make everything I touch wow-able.
  2. Savvy Musician “As a music professor, this book has become required reading for all of my students. In fact, I recommend this book to everyone- professionals, amateurs, and students alike. The vignettes are fantastic, the writing style is enjoyable, and the content is superb.” James W. Doyle – It’s important to be savvy in any career. This is worth reading for both interest and gleaning ways to boost yourself in your own industry.
  3. Crush It! “The most important takeaway I found in the first read through is that honesty always wins in an established market that’s playing by an old set of rules.” Daniel, Ottowa – Just take it for what it is: a quick read with some motivational prowess.
  4. EntreLeadership “Full of excellent anecdotes and practical tips on entrepreneurship, hirings and firings, and leadership at its best.” Stephen R. Covey, author, The 7 Habits of Highly Effective People – Yes!
  5. The Indie Band Survival Guide “Finally! A comprehensive and practical guide for musicians that explains how to navigate today’s music world without a label. A must-read!” Derek Sivers, founder of CD Baby – Detailed info for anyone interested in how media and marketing work, as well as lots of help for people traveling.
  6. ReWork “The clarity, even genius, of this book actually brought me to near-tears on several occasions. Just bloody brilliant, that’s what!” Tom Peters, New York Times bestselling author of IN SEARCH OF EXCELLENCE, THRIVING ON CHAOS and LEADERSHIP – It’s time we revisit everything we do, especially in the orchestral field. Whatever your industry, go ahead an re-invent the wheel. I am! (see: http://sunfonia.org)
  7. Do The Work! “The gloves come off! Do the Work explains who and what your allies are and how to embrace and utilize them in your creative life or in your day-to-day situations” Robert T. Kiyosaki – Totally in line with my motto since being a classroom teacher in the UK: “Just Do It!”
  8. How to be your own Booking Agent “Goldstein’s book takes a career from oblivion to stardom, on one’s own terms, while maintaining artistic integrity.” RAVI, singer/songwriter, former guitarist of triple GRAMMY nominee HANSON – Extremely useful insight for anyone speaking, selling, traveling, consulting, performing, etc.
  9. Word of Mouth Marketing “A primer chock-full of great stories, tips, and exercises to make you a better word of mouth marketer, no matter what size company you work for. Read it, and you will increase your influence with your customers and make yourself more influential in your company.” Ed Keller and Jon Berry, authors of The Influentials – Not everything is implementable by everyone, at least not immediately. Very useful for career ladders as well as small businesses.
  10. Artist Management “The book lays out all the facts, techniques and pitfalls involved in managing entertainers. I would say this book is very comprehensive and would allow a beginner in artist management the ability to get up and running in the business with ease.” J. Garton – Essential reading for anyone who manages people, whether for their own careers or within a corporate heirarchy. You won’t necessarily need the contract templates, but still…
  11. Ownability “Britton’s new book demystifies the complex world of intellectual property in a simple, approachable voice that’s both comprehensive and soulful.” John Maeda – If anyone ever has an idea, here’s how the US (and global) ownership rules work.
  12. Structural Hearing “This is the best book to help anyone understand the tonal coherence in classical music. It takes you through counterpoint, harmony and analysis.” Lan Qiu – Specifically musical, you may just find yourself a) more interested in live classical music, and b) able to transfer many of these skills, approaches and techniques to your own industry.

That’s a list of my favourite most useful reading over the past year (I read a total of 32 books). It’s one book per month if you want to take it slow during 2014. Or you can plow through the list and finish them sooner. The choice is up to you.

Question: What book would you recommend reading this year? Please share your recommendation in the comment section below and help out your fellow readers.

 

 

Who cares about live music?

"Tell Someone Who Cares"Time for a rant/ rave/ vent, methinks. It’s been a while. Bear with me:

Who cares about live music?

Everywhere I look there are stories of musicians being yelled off their stage, performers crying for “decent” pay, orchestras and opera houses closing down, music schools diminishing beyond recognition, and a host of other music-related news that simply doesn’t play a pretty tune.

So, who actually still cares about music?

  • Musicians do (instrumentalists, singers, composers, conductors).
  • Politicians will if it makes them popular.
  • Some film producers and directors do.
  • Music writers and administrators do.
  • Music teachers and professors do.
  • Some corporate executives hoping to make their company look good by supporting local musical establishments might.

Who else?

  • And don’t tell me dancers do – if they did we’d still have live musicians at every performance.
  • And don’t tell me most audiences do – if they did they’d willingly pay the costs of every concert.
  • And don’t tell me clergy do – if they did they wouldn’t be promoting celebrities who sing to pre-recorded tracks.

But despite the seemingly exhaustive list of supporters, first: look how many people who experienced music directly in their lives are those who remain passionate about it, and second: I can’t help but feel an underlying podium of obligation and hidden-agenda persuasion.

The fact is, in 2013 there are very few people who care about one of humankind’s most fundamental forms of expression. “Music” has been around for as long as birds could whistle and people could control the pitch of their voices. For centuries it was just a part of everyday life for just about everyone.

16th Century Gregorian Chant Song Book

This 16thC songbook in Seville Cathedral contains many chants “composed” over hundreds of years

Then, about 500+ years ago, someone figured out a way to write it down so others could repeat what was being expressed. (Actually, music was used in the church to aid priests with their memorization of liturgical text – a trick that is still used today.) I’ve seen one of the earliest songbooks known to exist, currently housed in Seville cathedral, and when people stop to consider what it represents, it is an awesome thing. But, like so many museum pieces, most people just wander by and say ¡Qué Bueno! (“That’s nice.”) You can hear the apathy in their tone.

Since then, there’s been a direct split between formal music and popular music. Even these words seem insufficient to describe the horrors of classifying and labeling just about each individual’s specific tastes, desires, likes and academic output of organized sound-based expression.

But what really scares me are these two facts:

1. Older generations are telling younger generations that music is unworthy, not to be valued, and an interrupting annoyance. Instead, we are taught by decision-makers and influencers that it is a gimmick, a sometimes useful but very expensive tool of persuasion, and wholly unessential or unnecessary for anyone’s well-being. Example: “Our youth groups don’t want to see an orchestra on stage – that’s not our vision for them.” Example: “Oh! That youth orchestra is just way too loud whilst we’re shopping. C’mon, let’s leave.” Example: This whole flashmob was commercially staged, including the little girl at the beginning – the bank the performers were in front of was celebrating its 130th birthday.

2. Musicians are out to prove their relevance/ worth/ value, demand certain rights, and are using Music as a political means to get what they want (be that income, satisfaction, their own worth/ value, proof that they matter or haven’t wasted their lives pursuing something pointless, etc.).

Ouch.

And I’m fed up with it.

In today’s technological digitized world, is there even a future for music? At all? We have created machines that compose and conduct, and devices that source every piece of music that has ever been recorded or constructed as an audio file. [And that’s a whole other rant – are we listening to the performers, or the sound system? More on that another time.] Music provides some sort of background sensory stimulation in almost every activity many Western humans undertake, including shopping, using public toilets, driving, office work, jogging, and so on.

The recent spike in popularity of orchestras playing music whilst a film is displayed above them is an extension of the old piano-playing cinemas of… wait for it… not even a hundred years ago. In Beethoven’s time it was rare for concert halls to have seats. People mingled, chatted, ate & drank, and had a good old time hanging out. In Mozart’s time, operas told stories of faraway places and unknown cultures with drama and costumes and scenery and, of course, dramatic music.

Mention opera nowadays and most people yawn.

What’s happened? What’s going on? Where are humans headed next? Hardly the dearly desired World Peace, that’s for sure! And I fear the loss of music and the senses that rely on it for their useful/ proper/ full development, will transform humans into unthinking creatures of survival habit.

And yet we’ve come so far…

What do you think? Add a comment below and let’s talk about it…

Maybe it’s just in specific cultures. Maybe this is all totally imagined. Regardless, I’m upset so many humans around us are dismissing live music making, and I’m getting angry enough to do something about it in my little circle of influence. More about that soon!

 

What is Classical Music?

violinist

Enjoying live [classical] music concerts could be one of the most exciting relationships you’ll ever develop.

 

But here’s one thing any valuable and interesting article or document shouldn’t start with: a definition.

The term “Classical Music” is difficult to embrace for three reasons:
– It conjures up images of rich elitism, boringness and dead white men.
– It actually refers to a specific period in musical history (1750-1830)
– Much of society is prejudiced against anything associated with it.

The enigmatic Founder and Artistic Director of The Discovery Orchestra, George Marriner Maull, visited two inner-city schools one week and worked with young children on “listening.” The heart-warming outcome is that every child was fully engaged, improved their communication skills, and loved the music.

Interestingly, when Maestro Maull starting working with the music he deliberately did not mention the composers’ names or when the music was written or give it a stylistic label, which is the normal practice when giving a workshop or lecture (heck, I even did it when giving this post a title!). The children just thoroughly enjoyed the music which happened to be written by some chaps named Bach and Vivaldi some 300 years ago. To them, it could have been last written last year.

George Marriner Maull and the Discovery Orchestra

Fascinating. And we have a problem.

Unfortunately, by the time these children become adults they may very well be turned off of the “Classical Musicgenre or style they’ve come to appreciate and enjoy, just because society tells them to.

We could explore the sociological and psychological reasons why that might be, and perhaps that should be the topic of a future missive, but it’s not this one. Instead, let’s recognize that the term “Classical Music” has, despite it’s actual reference to a specific period in history, come to refer to anything not in the popular mainstream realms of music, or which has another generic label.

Jazz is jazz, rock is rock, and so on. Many styles of music have their own sub-styles, but as far as you and I are concerned, let’s define Classical Music as:

Audio entertainment that is constructed around in-depth formulas and functions of sound presented with the intent of active and engaged listening and feeling, mostly using instruments that do not require electricity to function.

Sounds boring? Maybe.

Audio entertainment that is constructed around in-depth formulas and functions of sound presented with the intent of active and engaged listening and feeling, mostly using instruments that do not require electricity to function.

Have you really actively listened at a concert and engaged with what you hear? If you’re relatively new to classical music, probably not. Usually your mind wanders to problems of the day, what you’ll have for dinner later, or the lovely dangling earrings of the person sitting three rows in front of you.

It takes a certain amount of effort to listen to and engage in anything worthwhile, and classical music is no exception. But it’s hard for us when everything is so physical and instant these days. Instant gratification = surface material. Those who want more, who want meaningful relationships, who want something solid, grounded, stable, reliable, a cornerstone… can thoroughly enjoy classical music.

What do you think? Am I close? Is that definition too broad or too technical or just too plain… “huh?” Let me know in the comments below what you think of my definition, and if you have a better one – I really want to know!

Back to Choral Roots

A couple of months ago I was appointed Conductor of the 40+ year old Clearwater Chorus. It’s an ensemble of people who like to sing, and encourages adults of varying ages and abilities to make and share music together.

At least, that’s what it is now.

The Clearwater Chorus

Although not titled a “Director” that is effectively my role and as a result, I’ve grabbed hold of the reins and am guiding the ensemble through a new perspective: who we have and what we do now is what we are, and as long as we work together to share music, we’ll be doing something of value to the world.

[Click here: I’m giving away four tickets to our concert on Dec 22!]

Why is this so new? Because like so many institutions that are founded and/or led by an individual for so long (in this case, Arthur Goetze who directed the group from 1975-2005), its members can become entrenched in “the way things were.” This is also a very typical perspective of older generations, especially those who have worked their whole lives and are now enjoying a few special comforts in retirement: they expect things to stay the way they know them. But that is so rarely beneficial for anyone, and certainly not how the world spins.

So whilst respecting the past and honoring those who have gained far more experience with this ensemble than I ever hope to, it is now time to focus not on what we don’t have but on what we do…

Doesn’t this pertain to life in general?

For example, over the past 12 years I have mourned the loss of an active performing and teaching career founded in music, something I have known to be a primary part of my existence since I was in single digits. My music career after moving to the USA has been patchy, fraught with unconfidence, some expensive decisions, and a distinct lack of industry contacts that don’t label me an outsider.

But this current appointment has, unexpectedly, brought me right back to square one – the roots from which my fascination with music grew.

British American Conductor Composer Stephen P Brown began his musical life as a choir boy in Cuxton Church

The Anglo Saxon village church in Cuxton UK, where I was a choir boy

I was 7 years old when I began playing the piano, but that was after I began singing in my English village church choir. I remember joining the village Junior School choir around the same time, as well, but by the time I had moved to my UK secondary school at age 11, I was fully immersed in singing, piano and clarinet. It wasn’t until just before I moved to the USA the first time that I showed any interest in percussion (and if you know me, it was an incredible 4 years of percussion playing that got me into college at 17 years old! More on that another time, perhaps).

During my college years a budding-conductor buddy of mine, Chris Kiver now a Choral Professor at Penn State University, and I would organize “Scratch” singing sessions in which anyone who wanted to play and sing the repertoire we had planned could do so. Of course we did much recruiting, but giving solo parts to multiple singers throughout each piece enabled them to get much needed experience, and Chris and I to learn many differing needs of accompaniment.

In the years that followed college I conducted various ensembles such as the Ealing Choral Society (thanks to the late great James Gaddarn), the Yalding Choral Society, the Medway Community College Singers, and a whole host of other one-off groups. Four highlights in particular were:

  • Conducting Handel’s complete Messiah with 5 days’ notice when the conductor who was booked fell ill,
  • Conducting a “Marathon Singing Session” in which almost 1,000 teenagers sang hymns, easy listening songs and some chart songs,
  • Conducting the European Premiere of Dawn Mantras (outside, at sunrise) by Australian composer Ross Edwards during the UK’s year-long Millennium Festival in 2000, and
  • Singing for John Rutter at Carnegie Hall in his own composition Magnificat.
British American Conductor Composer sang at Carnegie Hall for John Rutter

Melissa and I hanging out with John Rutter in NYC

In addition, I played timpani or percussion for countless choral societies around the UK in more pieces of music than I can remember – hundreds. And, being a percussionist usually with lots of time not actually playing, I got to listen to conductors rehearse their choirs, listen to the choir members mutter under their breath, and have choir members (usually altos) unsolicitally (?!) share their awe about how anyone could actually play the timpani: “I never knew they had pedals like that!”

Interestingly, only a handful of these choral activities “made the cut” onto my resume, so when most folk read my history of musical performance, they see “instrumental conductor” or even just “music teacher.” It’s quite annoying, really, because although conductors in the UK and Europe are trained to be teachers (hence the general reference to them as “Maestro“) in all genres of “formal” music – orchestral, choral, opera, musicals, some concert/wind band and maybe even ballet – in the USA conductors are labelled at a young age and ‘specialize’ not in leadership or motivation, but as a topical expert in just one of those genres. It’s such a pity.

Of course there are exceptions such as James Levine. Kind of. And the incomparable Leonard Bernstein. But generally, conductors in the USA are rarely recognized as even “capable” of conducting well in more than one musical genre. You can tell when a choral conductor has an orchestra in front of them, and you can tell when an orchestral conductor now has to deal with a choir, too. I’m quite proud of the fact that I was taught and expected to work with both, so now that I’m working with the Clearwater Chorus (this links to our Facebook page – please Like it!), not only do I feel comfortable and confident that I can help produce a good sound, help the singers sing together, and focus on sharing good stories and music with others (including the audience), but it is also bringing me back to my roots in music – as that little angelic Church of England choir boy in my village.

For your entertainment: This is one of my favourite Bernstein performances of showmanship, especially around the 5 minute mark. It’s even more engaging because of the video/ audio mis-synching!

Seeking Leadership Stories

leadership01As a Conductor I am often held responsible not just for the instant moment-by-moment success of live music-making, but also the entire image, direction and resourcefulness of the whole organization. Every action and decision a leader makes directly influences outcomes and sales. (Click it to tweet it!)

As you know, that basically sums up the outcome of every leader’s work.

Leadership studies

So over the years I have studied and explored a great many leadership and management concepts and skills, including those espoused by Tom Peters, Michael Hyatt, Marie Forleo, Dave Ramsey, Richard Branson, John C. Maxwell, Michael E. Gerber, J. W. Marriott Jr., Charles Forte, Earl Nightingale, and a WHOLE host more (usually through biographies). In addition, since my teen years I have closely watched other leaders at work – conductors, business owners and corporate management – to learn what works well as well as what doesn’t seem to work well.

It’s been a fascinating journey. However, one thing I’ve noticed is how much Conducting orchestras, choirs and musicals not only incorporates almost every leadership skill out there, but very clearly and succinctly brings them altogether in one easily-observable package.

Really?

Yes, really.

So I’ve summarized what I’ve learnt, observed and tested (meaning: tried out in live environments) and written them down from a conductor’s point of view in a cute little book. I think you’ll find it interesting. However, I’d like to marry these leadership concepts to non-musical examples that many others can identify with.

What’s your story?

Do you have a leadership story to share?

Do you have a leadership story to share?

If you are or have been a leader in any industry in any organization, I’d love to hear from you: Corporations, Small-Business, Community Groups, Governments, Sports, Church, School, Fundraising events, or wherever you have been responsible for leading others to achieve a mutual goal.

Check out the seven scenarios listed and if you have a story to share for any of them, add it to the comments (remember to log in FIRST, before writing your story!)

Thanks for your time and willingness to share your expertise and experiences. If you have any questions, please do send me an email

  1. You give the ‘Go!’ A launch, pep talk or somehow getting your team off to a great start

  2. You take note of how things are progressing and offer a little encouragement here, a little adjustment there…

  3. You can’t help but smile at what your team is accomplishing! You show your team how pleased you are with their efforts.

  4. Was there a time you or your boss didn’t trust the team to start on their own? Did you have to control how they began? Did such behavior prevent the most effective launch possible? How have you been a different leader since then?

  5. Was there a time you or your boss didn’t trust the team to do their work? Did you control every move they made? Did such behavior demotivate people? How have you been a different leader since then?

  6. Was there a time you or your boss were completely hands off and didn’t really know what the team were doing? Did such behavior prevent progress and/or quality outcomes? How have you been a different leader since then?

  7. Did you ever actively encourage your team to grow and become better than you (at what they do)? Did your team benefit from expanded skills, new approaches and advanced learning? How did that affect the team’s productivity?

THANK YOU 🙂

 (Log in below to add your story)

#PsalmQuest 10 – Mirror 2 for solo harp

Writing this piece of music was probably one of the most enjoyable projects I’ve ever done. Perhaps that’s why it turned out to be a good one.

The harp can be a daunting instrument: it is large yet delicate, piano-like but not a piano, strings plucked with four fingers per hand not hammers hit by five fingers.

However, the learning process about harp technique was made considerably easier by Jacqueline Pollauf, who has kindly posted a list of guidelines online.

Anna Kate Mackle, Florida Orchestra

Anna Kate Mackle, Principal Harpist of the Florida Orchestra

But I must admit, I also cheated a little – I asked Anna Kate Mackle, Principal Harpist of the Florida Orchestra, for some input. Back in the mid 80s, Anna Kate and I were both in the New Jersey Youth Symphony and also attended the same summer camp in North Carolina, the Eastern Music Festival. It was such a terrific six weeks of intense music activity that we hardly saw each other, and when I moved back to the UK a few years later we lost touch until I moved to Tampa Bay some 20 years later. (EMF was so good, Anna Kate now teaches there every Summer).

Anyway, Anna Kate enthusiastically shared her perspective on a couple of corners during the creation of Mirror 2 and so I couldn’t resist but dedicate the piece to both her and Jacqueline. I do hope they’ll both find occasions to play the piece at some point (Maybe during next year’s Festival of Psalms).

Perhaps another reason this piece turned out so well is that I have a kind of fondness for the harp. Whilst in college in London I dated a harpist and spent a lot of time carrying and transporting her harp all over London and Kent. She attended the Royal College of Music and I attended Trinity College of Music, but we didn’t let that rivalry get in the way as we were both members of the Kent County Youth Orchestra (upper age limit 21), and my mom & her dad worked together at Kent Music School!

(Come to think of it, I’m pretty sure being a percussionist very used to carting about large and heavy instruments came in pretty handy during that relationship!)

Stephen P Brown has a history with the harpAnyway, in the past month or so I’ve learned a great deal more about the harp than I already knew (such as multiple note harmonics per hand) and tackled this composition with a different kind of energy. As one independent industry reviewer commented, the piece is “beautifully haunting.”

Mirror 2 is based on psalm 38 which is structured in 5 sections, namely A, B, C, then B again and finally A again. To me, that’s a mirror image. I don’t know if there’s a formal musical structure out there that imitates a mirror, but I’m not bothered about that – I’m calling it a Mirror in the same way that many pieces are called Sonata or Rondo based on the music’s structure.

By now you know that my compositions, although currently rooted in a more traditional Russian Romantic idiom, are far from normal. Typically we associate the harp with angels, prettiness, light cotton candy, beautiful sweeps and whooshes, and happy weddings.

So this piece is dark, low, deeply emotional and far from angelic! Each of the five sections of Psalm 38 are about Prayer or Pain. See Longman & Garland’s commentary for more details.

Use the Reverbnation player below to listen to the piece (it starts quietly) and then see if you agree with George’s assessment below. Let me know in the comments what you think.

I’m giving the sheet music for this piece away for free for an entire week, so if you know any harp players, be sure to send them this post using the share buttons below so they can download it and try it out. Both you and I would love to know what they think of it, right?!

Listen here:

Click here to get your copy of the sheet music.

So, do you agree with George?

George Algozzina likes Mirror 2 by Stephen P Brown

George Algozzina is, amongst other things, a tenor in the Clearwater Chorus

“My life has been truly affected and enriched this morning when listening to Stephen’s new song, ‘Mirror 2.’ It was wonderful to awaken and experience an entire day’s worth of feelings and emotions in just a few minutes through a truly amazing and beautiful musical composition. I do not know the emotional reaches or spiritual intentions Stephen has for his piece, but it took me from an ominous (almost hopeless) place…to one of acceptance…and then to one of self-awakening and the chance of peace, tranquility, and hopefulness. Thank you, Stephen, for making a difference in this moment and in my life!”

– George Algozzina

 

Add your own thoughts below…

 

Quest #9 – Perspective

British American Conductor Composer Stephen P Brown writes a composition for bass clarinet and drum kitThis was an odd composition that kind of came out of nowhere, but ended up being the ninth composition in my psalm composition quest.

And it’s a little strange, being written for bass clarinet and drum kit.

Uh-huh.

I met Calvin Falwell recently and during our chat he mentioned a project he and his USF Faculty colleague Robert McCormick were undertaking. I know Robert and was therefore interested.

Vox Novus commission lots of new music from composers for a project called “Fifteen Minutes of Fame.” Composers submit brand new compositions no longer than one minute (60 seconds) and 15 of them are selected and joined together to form one piece of music.

Crazy?! But awesome 🙂

So, after witnessing Calvin’s playing in Joseph Hallman’s Bass Clarinet Concerto last weekend at the University of South Florida, I came home and researched the Vox Novus project. Many hours later, the 1-minute piece is finished and submitted!

Here’s the program note that went with it (maximum 50 words):

“Perspective” was written for Calvin Falwell and Robert McCormick, who play the composer’s own primary instruments: clarinet and percussion. Musical influences come from a variety of sources, including Psalm 14 which is in four sections: Foolishness, God’s perspective, Prophetic perspective, and hope. A Vox Novus commission, it is 59 seconds.

As the closing date isn’t until mid-March and each piece submitted must be original and never performed before, I offer you a computer-generated recording (it’s missing several sound effects in the score), but no sheet music, yet.

Here’s the piece:

Interestingly, this sudden spurt of energy and creativity actually left me with sparse inspiration and incentive during the next day’s scheduled composition session! Beware spurts of creativity! They may drain you for tomorrow… [Click it to tweet it] No matter, onward.

Now it’s your turn:

In the comments below, let me know

  1. Why you like or dislike this composition.
  2. What you think I could have done better.
  3. Which of the other requests should I consider? Click here to see the list.

Why the next 20 years of classical music will smash the last 20

OPINION. That’s all this is. Totally unmerited, unfounded, unresearched, unverified 🙂

I’m in the UK right now, where I spent my childhood and early professional career. My teens and current professional career were/are in the USA. My college life was mostly spent up & down the UK, throughout East & West Europe, and later a sojourn in a couple of countries in the Southern parts of Africa. Next stop? Ah well, wouldn’t you like to know!

Conductor Composer Stephen P Brown grew up and lived in both the USA and the UKBut as I’m sitting here for a few moments, pondering the extraordinary life I’ve lived split primarily between two continents, cultures and languages (yes, I’m bilingual: I speak English and American), I find it remarkable how much our environment has changed but our enterprise has not. For example, in the late 1980s I predicted that orchestras would start dying out in 20 years or so if they didn’t radically change, and I was correct.

So what about 20 years from now? Hmmm…

“Keep classical music live!”

First, I still believe that acoustic/ unplugged performance affects us in so many more ways than anything reproduced through loudspeakers (click it to tweet it) if only we can be bothered to listen & allow ourselves to fully engage in it, and it cannot be replaced.

From that perspective, I wonder what was I doing 20 years ago that I’m still doing now? Am I doing it differently? How will I be doing it in the future?

Classical Music

  • “Classical music” was an art form studied by many, performed by a few, and enjoyed by a multitude.
  • No-one wants to call “Classical Music” Classical Music anymore. It has a stuffy reputation and technically only refers to the period in history in which Mozart and Haydn lived. We are confused.
  • “Contemporary Music” will be only a [major] part of intimate and huge all-encompassing events that remind us there’s a form of communication that isn’t verbal or visual, but emotional.

 

The Towaco Story by Conductor Composer Stephen P Brown

Composing

  • Manuscript paper could be bought or drawn, and music was created & shared by using a pencil, ruler and eraser/ rubber (see? I told you I’m bilingual).
  • Computer software is readily available, both audio-based used primarily for output such as films, and visual-based used primarily to print music for live performers to read.
  • Even without Steve Jobs around, composition technology will continue to grow and astound those of us born before 2009.

Music Theory

London Sinfonietta Postcard Score Event

The music score of “One for Vonnegut”

  • Musical rules and regulations developed over 400 years were studied and followed rigorously prior to being broken and expanded upon.
  • Sometimes musical rules and regulations are followed, sometimes not, sometimes they don’t even apply, especially in graphical scores.
  • People will like music that affects them, whether it is disturbing, pleasing or in-between, and the rules and regulations of multiple cultures’ musical traditions will be meshed together to create new musical theories.

Commercialization

  • Specific performers were adopted by a benefactor such as the aristocracy, a publisher or a record label, who paid the performer to perform or the composer to compose in order to entertain themselves & their staff, or make money.The Three Tenors became a commercial goldmine
  • Anyone can self-publish, self-record, and self-promote. Many consumers are getting fed up of hearing the same financially viable repertoire pumped into their ears time and time again.
  • Private enterprise will promote performers and composers through hosting or advertising at large live events and online, kind of like Pepsi and Verizon have been doing with (currently-commercialized) female pop stars. Consumers will favor living composers but still occasionally wallow in the music of Dead White Men.

Funding

  • As above, musicians struggled or were adopted by a benefactor. In the Olden Dayes of Classical Music, there was no public government funding.
  • Musicians still struggle, but many are supporting themselves handsomely through ‘entrepreneur-like’ activities such as teaching, producing (live & recording), publishing, retail, and performing all combined. Some governments still spend as much as 0.5% of their nonviable budgets on all the arts.
  • Musicians will still struggle and many will be a part of larger organizations and co-ops. But, administrators will support not direct, and Boards will over-see not make decisions. Public funding will still be a hot topic but far less influential.

 

One thing I can assure you about classical music in 20 years’ time: it will still be here. It is not dying. There will always be someone scraping a wooden violin, someone tooting down a metal tube, and someone banging on an array of so-called ‘instruments’ (aka Percussion). It may morph, shrink and grow, expand and minimalise itself to 1 note (or nothing, in the case of John Cage’s 4’33”), but it will still exist.

After all, the community and youth orchestra scenes are enjoying unprecedented success and are clearly still on the upswing (if not just reaching their height).

What YOU think “Classical Music” will be like in 20 years…

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How I compose 3 – Chords

Guitar chords

How to play a chord on a 6-string guitar

“A chord in music is any harmonic set of three or more notes that is heard as if sounding simultaneously.” (Wikipedia, accessed August 7, 2013)

To me, chords form the shell of a piece of music – the walls and roof of a house, so to speak. For me, this is the most difficult part of composing and always has been. Possibly because I’m a percussionist and therefore spent a lot of time focusing on rhythmic patterns and combinations rather than harmonic.

Harmony?

“Harmony is the use of simultaneous pitches (tones, notes), or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the ‘vertical’ aspect of music, as distinguished from melodic line, or the ‘horizontal’ aspect.” (Good old Wikipedia again, accessed August 7, 2013)

Many composers, particularly song-writers such as Lady Gaga [despite her marketing style she really is a very good song-writer. My friend in NYC who knew her on the circuits before the fame will attest to that as well] start with a melody and work from there. I’ve done that sometimes, but as I know harmony is a weakness of mine I’m focusing on that first.

Chords are like a building's frame

Chords form the musical walls within the predetermined structure.

So, when composing a piece of music, I need to establish what the walls and roof are made of. This is the harmony, which is made up of chords. The content of the psalm or story always influences the harmony, particularly if the piece is to be in a minor key (sad-like) or a major key (happier than minor).

Outside my composition, administration, booked activity time, I’m studying various harmony books to build on what I learned many years ago. Over the past few years I revisited the ABRSM music theory guides (awesome material, by the way) and looked through many of my high school and college notes and texts, including Walter Piston‘s mammoth treatise. Now I’m fascinated by Tchaikovsky‘s guide and Rimsky-Korsakov‘s manual.

Next I’ll be delving into Schoenberg‘s “Fundamentals” and after that, will take a more serious approach to Walter Piston’s and dive into Persichetti‘s 20th Century Harmony. The plan is that by the end of Year 2 of this project I’ll have a pretty firm grasp on traditional harmony.

Enough context – how do I actually compose? Once I’ve got my ‘mood’ (happy or sad) I then consider the instrumentation. Some instruments are more sonorous in some keys rather than other. In addition, the keys themselves have characteristics, even colour (a form of synesthesia).

Once the key is established, I play around with various chord progressions: “Does chord I sound better after chord V (we use Roman Numerals a lot in Western music)? Or would chord II sound better? Hmm. But if I follow it with chord III, II doesn’t sound that great in this key. I’d better stick to chord I.”

“Unless I go to chord V again…”

This way I could end up with a pattern of chords that last 4, 8, 12, 16, 20 or any other number of ‘bars’ or ‘measures’. How do I know what a bar or measure is? That works in tandem with choosing the chords:

This is a medley/mixture of waltzes (3 beats) and marches (2 or 4 beats), as well as a rather talented trombonist @ 7mins

A happy dance might be grouped in 3 little beats (think of a waltz by Strauss) whereas a march would definitely be grouped in 4 steady beats. Sometimes the story is not that obvious and 4, 5 or even 2 beats grouped together sound better. At what speed? Again, depends on both the story and the chord progression.

I’m exhausted. You?! Next article in this series will demonstrate how I get a tune (or melody) out of the chord progression. To me, melodies are like a journey through the house, moving from room to room or dancing/ sitting in one spot.

Next Piece #7: Bagatelle for Violin

This was a surprise!

In my 7 year composition quest, piece #6 took a little over a month to write. This one took a day. Yes. One day!

Solo violin

It helped that the piece was being written for just one instrument alone, which is a complete contrast to Warrior Peace. Another contrast is the style: actually, I’m not too sure where this style came from but it is clearly a “contemporary” piece. I followed my usual system for composing music based on the psalms (Steps 1 & 2 I’ve already shared with you, and step 3 is coming soon) and after composing the closing melody, decided the piece was going to be too long for a “Bagatelle.”

Bagatelle for violin by Stephen P Brown

A non-musical “Bagatelle” is the pinball machine’s predecessor

I could change the title, or change the piece. The melody survived but the decision was made that the six sections before it would be shortened. Normally I write one chord per bar. In this piece, sometimes that happens but mostly it is one chord per note. And bearing in mind a solo violin often only plays one note at a time, the harmony progresses pretty rapidly!

Psalm 112

This composition is based on psalm 112, a wisdom psalm. It is short but has seven sections. In the end, though, the first and last sections in my piece were swapped – I’d rather begin with a curse and end with a blessing. So, here’s the structure:

  • A – Curse on the longings of the wicked
  • B – Blessings of righteousness
  • C – Blessings in adversity
  • B – Blessings of being gracious and compassionate
  • C – Blessings in adversity
  • B – Blessings in righteousness
  • A – Blessedness of those who delight in wisdom

One commentary (Longman and Garland) titled this psalm “The Triumph for Faith” and another (White) titled it “The Gain of Godliness.” Make of that what you will, but the piece is intentionally short and therefore I titled it “Bagatelle” – not after the board game, mind, but the musical form.

Listen

Listen to a computer rendition here (I’d much rather hear it live, and maybe we will next year):

Click here to get your copy of the score. Please share this post with violin players you know, and perhaps one of them will record it at home for us to post!

And please add your thoughts about this solo violin piece in the comments below (be sure to sign in to Disqus using Facebook, Twitter or your email). Do you like the style/ genre? Do you think it is short or long enough? Does it disturb you or make you think or calm you down? Do share your thoughts: