Daniel asks…
Do you think that Classical music can be effectively composed and played on more modern electric instruments?
Do you think it is possible that classical music can be composed and played on electric and synthesized instruments while still remaining sensitive to emotion, meaning, subtlety and dynamics in it’s renditions?
Abigail0309 answers:
The short answer: Yes. Has been since in the classical scene sinde the 1940′s
There are few on Y/A who are into contemporary classical. Few in general will accept the new toys, i.e. Tools as instruments, now available to composers, as ‘legitimate.’
Any and all instruments and all the musical elements of style, tunings, harmonic language are merely part of any composer’s palette. Whatever a composer does with those is utterly dependent upon whose hand those tools and palette are in, their skill and that unnameable abstract ‘intent and import’ which determine opinion about the validity if “what they say,” is high art and worthwhile.
Tape / audio, electronica and non-traditional acoustic sound sources are found in classical music since the 1940’s, w/ a notable surge in the mid 1950’s – 60’s. Precedent works used earlier (more ‘primitive) electronics. From that era we have acoustic pieces + Ondes Martinot from: Messiaen, Jolivet, and Martinu. The Messiaen “Trois petites liturgies pour la presence divine” (orchestra, unison female chorus, Ondes Martinot) 1944, still sounds ‘modern’ for its date, extremely dramatic, emotive to the point where it is often enough criticized as sentimental.
A flock of French composers have been devoted solely to electronic music, Pierre Shaeffer for one. Edgar Varese’s “Poème électronique” (1958) was notable then and now sounds very dated. His Ameriques is for large orchestra and prepared tape interludes.
The Darmstadt crowd: Karlheinz Stockhausen, Pierre Boulez, Luciano Berio are the most known composers who were strongly affected by their interaction working with electronics. Some works from that mini-era still resonate: Stockhausen’s Gesang der Jungelinge, manipulated tape sounds, acoustic and synthesizer generated. ~ 1956.
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Berio’s Visage (soprano and prepared tape) is flamboyant and beautiful. Subsequent works by him and the others, whether acoustic, Electro-acoustic or purely instrumental are all marked by a re-thinking of how music behaves. It directly affected their handling of acoustic instrumental color, including expanded techniques and form. Some of these earlier works, some fifty years old, still resonate. His ‘Folk songs,’- soprano and small ensemble – show the effect of the influence on his fundamental sound palette in registration of color and a new idiomatic manner of writing. Of his well-known series of sequenzas, many are for a solo instrument with prepared electronic sound.
Boulez’ Répons (two pianos, harp, vibraphone, glockenspiel, cimbalom, orchestra and electronics, (1984), a landmark piece, integrates interactive electronics via computer: instrumental material recorded during performance is processed in the computer, which tosses in / back permutations of just played and now altered acoustic sounds.
Amplification: formerly a resisted no-no in classical, now commonplace, Berio’s Sinfonia for large orchestra includes a chamber group of singers, all miked, and amplified (pick-up bar) piano. Steve Reich’s later “Daniel variations’ (four pianos, multiple mallet phones, two reeds, miked vocal quartet, amplified string ensemble)
In a modern (1960-70 to present) yet arch-conservative vein, John Adams has used synthesizers and or prerecorded sounds mixed with instruments; Chamber Symphony / On the transmigration of souls. / Light Over Water, synthesizer and Brass instruments (1983)
Christian zeal and activity: string quartet +“embedded” manipulated recording of a sermon
Violin Concerto (1993) has a very subtle synth part.
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In his “Dharma at Big Sur” a six-stirng electric violin soloist is front and center of a large orchestra:
as has Gavin Bryars: “Jesus’ blood never failed me yet.” – pedal upright bass and other pick-up amped instruments, prerecorded sound.
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Steve Reich: Different Trains – string quartet and prepared manipulated sounds on tape / audio:
Variations for strings, winds and keyboards (synthesizers)
The latest is what one might expect, a prerecorded and multi-layered vocals, electronics, synth or otherwise, acoustic instruments, all recorded in Nico Muhly’s Mothertongue – I;
I’ve deliberately avoided the harder-edged art music from these periods (maybe except the Stockhausen “Gesang” to display how mainstream, tonal and if you can think it, how traditional most of the above is. Much of it, Adams; Violin Concerto, could not be more retr-romantic and ‘expressive’ than it already is.
Best regards.
John asks…
How do I learn musical instrumentation/Orchestration?
I’m a young composer (15 years old) and I’ve been playing the piano for at least seven years. I’m fairly good at it, considering I haven’t had any official practical examinations. I am learning music theory, though.
I compose music for the piano, but I also want to learn how to compose for other instruments, building my way up to an entire orchestra. I want to be able to take advantage of the way the instruments sound, while also knowing what they are capable of.
I have several computer notation programs, a piano, an electric keyboard with different sounds, and an imagination to work with. I know that orchestration and instrumentation are the sorts of things you learn by doing them, but where do I begin learning? What sorts of things should I try to compose first (I am primarily interested in classical music, but I’m open-minded)? Are there websites with guides on this topic?
Abigail0309 answers:
First off, continue with theory lessons, they will help you immensely. Second, you should consider the tone/range of each instrument you’re trying to compose for. For example, a violin will have a range from around middle C on up. A double bass will obviously be in the bass range. Knowing the ranges of your instruments will be essential to composing for them. Once you get some practice into composing, you should think about the tonality of the instrument. Some instruments played together may not sound right in that part of the piece you’re composing. Listen to some symphonies or compositions and see if you can pick out what instruments play when.
For starters, maybe writing a piece for piano trios or a string quartet of 1st violin, 2nd violin, viola and cello? Since piano is a bit different from strings, I suggest listening to violin concertos by Mozart. One thing I did was to take some of Bach’s works on the piano and split it into two parts, one for melody and one for harmony for violin. That way, you get an idea of how to organize playable melodies for both parts as well as how to harmonize. I suggest taking all the theory level courses, as it will definately help your composition skills.
May I suggest by first writing a melody for the violin, then adding harmonies and counterpoint? This tends to be the first thing that composers do, and they work from their simple melody into something more elaborate and for more instruments.
As for programs, there is a simple program called Anvil studio, look it up on download.com. It helps you compose multi-part songs and you can even add effects and a drum section if you so desire. It’s a free download and has no spyware/adware.
Good luck, fellow musician and composer!
Steven asks…
If I use a guitar amp on an electric violin, can I do the same cool effects?
Like maybe I could play it like a violin but sound like an electric guitar?
Abigail0309 answers:
Yes, How cool is THAT???? Once your signal is amplified, you can process it any way you want. I have an electric flute – seriously. There are entire electric string quartets ( is MANGO still around??) who do this all the time – they start out seated, playing like a Mozart quartet, and THEN – the curtain open, the smoke starts the drummer rolls out, they put down their acoustic strings, pick up electric strings, and WAIL. Beyond cool.
Maria asks…
what do you get if you mix classical with electronic music?
what do you get if you mix classical with electronic music? Or taken modern compositions from other genres such as rock, pop, dance and play them using instruments associated with classical music such as violins, cellos and harps but produce it all on a laptop using synths. Classtronic, Classical Electric, Contemporary classical, what would you call it.
Abigail0309 answers:
No matter what instruments you play pop, rock, dance or jazz music on, they ALWAYS retain their original genre. How could it be otherwise? Does Oasis’ ‘Wonderwall’ played by a string quartet suddenly become classical music? No, of course it doesn’t!
Similarly, no matter what you might arrange classical music for, it will remain classical. There are works for electronic and orchestra (eg Morton Subotnick’s ‘Lamination’, Kaija Saariaho’s ‘Verblendungen’). I find some of Walter/Wendy Carlos’s arrangements fun, but it is still classical music. No other term is necessary or desirable.
Mary asks…
What qualifications would I need to go to university to be a professional bass player?
I don’t know if I should take a Btec music course or a-level music to study in college/six form, then apply to university. Which one would be more efficient? What else would I need to take apart form music to be a professional bass player?
Do universities need other subjects (apart from music) to be a professional guitar player?
I would like to tour with people and play bass as a back up :)
Abigail0309 answers:
If you mean electric bass in a band, there’s nothing a university can help you with for a career (unless you will be super avant-garde, in which case you will probably need to stay at the university for most of your career). If you mean standup-bass in an orchestra or a small multi-piece music group (like Turtle Island String Quartet), then you should take some business courses to be able to manage your finances (and as a backup plan).
William asks…
Rock artists, songs that incorporate the violin?
I’d like to know of rock/alternative/punk rock/etc. bands (or just specific songs) that incorporate the violin into their music. While links are appreciable, they are not necessary. Whoever give me the most complete list of (accurate) artists and songs will be getting the ten points here. The sooner the better, and much thanks!
ALSO: If you’re not quite sure what I mean, I like Bush’s “Glycerine”, “Freak on a Leash” done by Korn with Amy Lee, and pretty much everything the Vitamin String Quartet has done.
Abigail0309 answers:
The Verve
Andrew Bird
Electric Light Orchestra
Mason Williams
Nick Drake
Oasis
Sufjan Stevens
The Avett Brothers
My Morning Jacket
Helen asks…
I am looking for an instrumental version of “I don’t want to miss a thing” by Aerosmith.?
I don’t like any of the “Karaoke” versions I’ve came across. I did like the Vitamin String Quartet version, except the violin part that followed the lyrics was a little strong. Does anyone know of a version that is instrumental and has an electric guitar in place of the lyrics? It’s for a wedding btw!
Thank you :)
Abigail0309 answers:
Http://
Good luck!
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