Over the years, I have tried to fulfill some strange requests. Once people learn that you can compose, you may be asked to come up with unique arrangements. Often, the requests come with certain and quite specific parameters.
Kathryn Rock and children Sometimes, the request is to make an arrangement for a group with limited instrumentation. Just a few weeks ago, my daughter asked me to write a number for her family to learn. The children are all learning to play various instruments. Some have played a few years, and others are just beginning. (Very specific parameters!) She told me the song she wanted and said they had a tuba, flute, alto sax, clarinet, trumpet, snare drum, and piano. In order to fill this assignment, I had to research the proper ranges for very beginner players and still create something enjoyable that they could play together. (I learned that there really is no way to balance a single flute against a beginning trumpet. Oh well, they are still having fun playing together in their little family band.)
One year, a friend of mine was working with a very small Church congregation in Baltimore. She was determined, though small as they were, that they could form a choir. So she approached me and asked if I could write eight hymn arrangements for Soprano and Bass (essentially 2-part ladies and gents). But she also stipulated these arrangements must stay within limited vocal ranges, have an interesting accompaniment for piano (not too hard, but artistic), and that I should get them to her in two weeks (when she intended to start rehearsals).
No sweat, right?
Looking back, she must have had more confidence in my skills than I had. She believed in me, so I set to work immediately. The hardest parts were to find familiar hymns that had melodies within one octave and then try to come up with new settings that were "not too hard but artistic." I got them to her on schedule and she said her group liked them a lot. (This project was not exactly what I would have chosen to do of my own volition. So, I went on to take a few of these arrangements and fill them out to fit my liking better!)
No sweat, right?
Looking back, she must have had more confidence in my skills than I had. She believed in me, so I set to work immediately. The hardest parts were to find familiar hymns that had melodies within one octave and then try to come up with new settings that were "not too hard but artistic." I got them to her on schedule and she said her group liked them a lot. (This project was not exactly what I would have chosen to do of my own volition. So, I went on to take a few of these arrangements and fill them out to fit my liking better!)
Even with a project that is more satisfying personally, there still may be distinct parameters to stay within. For example, one Christmas, a Choral Society wanted to use one of my chorals O Tidings of Comfort and Joy SATB in their concert. Would I create an orchestration for it? Certainly, but they could only afford to hire a small compliment of strings and woodwinds along with the piano. So, while not a Symphony Orchestra, it was still a fun project. (More in line with my own interests!)
Usually, I write for chorus or a small ensemble of singers and piano. Occasionally, I have the opportunity to add one or two extra color instruments such as violin, flute or bells. And yet, I wonder what it would be like to write for a big choir with a full Symphonic orchestra...
Usually, I write for chorus or a small ensemble of singers and piano. Occasionally, I have the opportunity to add one or two extra color instruments such as violin, flute or bells. And yet, I wonder what it would be like to write for a big choir with a full Symphonic orchestra...
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