Mark Dal Porto
Department of Performing Arts, Texas Woman’s University
mdalporto@twu.edu
How can music notation software be used effectively today to assist in creating more practical and performable scores? In this paper, I focus in how to create compositions that can be more easily performed with the help of music notation programs. The judicious use of these programs can not only help to create more effective rehearsals but also dramatically increase the composition’s likelihood of performance.
As a primary example, we might begin with works scored for voice and some type of instrumental ensemble. The voice part, when not doubled or reinforced by instruments, can be easily "cued" in certain instrumental parts. These cues would allow the singer the option of consenting to have the cued instrument play the voice part and thus give the vocalist the added security of singing in unison with a specific instrument. The singer can also have alternate notes indicated in parenthesis when the part approaches register extremes so that the voice part can be sung by almost any type of singer (soprano all the way down to bass/baritone). When higher or lower notes may occasionally exceed the range of the singer, the singer could choose to sing these alternate notes. At the same time, an instrument can be called on to double these lower or higher climactic notes that the vocalist has chosen not to sing. Thus, a high point or climax is not marred by a more limited voice, but instead is brought about through the playing of the cued instrument if the vocalist is unable to sing the higher (or lower) climatic notes.
Band literature abounds with examples of "cued" parts for the distinct purpose of covering weaker or missing instruments. Many scores could profit by utilizing this technique more frequently. However, my proposed scoring method involves taking this "cueing" procedure a few steps further. Specifically, they are: 1. Providing alternate notes for a singer when the given voice range is exceeded; 2. Having instruments play the "climactic" notes of a phrase if a singer is not able to sing them (while the vocalist sings the alternate notes); and, 3. Cueing instruments to optionally assist the voice part when the singer’s line is not "doubled" in the ensemble.
Because of utilizing these simple compositional techniques, more singers and instrumentalists would be able to perform these kinds of scores prepared in the above manner, thus exposing more performers to modern music. Of course, many 20th-century scores are notorious for the fact that they can be performed only by the most "elite" groups of musicians. This seriously limits the performance possibilities of these works. However, my philosophy is that contemporary works do not have to be so limited in obtaining performances if only a few practical compositional techniques are observed. Scores of this nature will also be "richer" in the sense that a number of different ways of performance will
be possible because more options are now presented in the score. This will allow an almost infinite variety of ensembles to perform these works with greater ease and pleasure. It will not require that "special" select group of musicians that is so often necessary to perform 20th-century literature.
The three enclosed musical examples are from a composition of mine entitled Songs of Life for Voice and Orchestra which utilize these cueing techniques throughout. The first example is an excerpt from the opening song (In the Beginning) which shows an oboe cue in small notes optionally assisting the voice part. The second example is an excerpt from the second song (Life’s Vanity) demonstrating a clarinet cue to assist the voice if needed. I use brackets in the voice part (i.e., [Oboe] in Example 1 and [Clar.] in Example 2) to show that the part is cued in that instrument (in small notes) and to indicate that the instrument may optionally play if the singer desires. The instrument indication in the voice part assists the singer in knowing what instrument to listen for to help with pitch and intonation.
The third and final example is an excerpt from the third and final song entitled The Farewell. Here I indicate the instrument doubling the voice part in regular parenthesis (Tpt.). This means that the instrument is already doubling the voice part and is, hence, not a cued part. Finally, Example 3 also shows alternate notes in the voice part that can be sung if the part exceeds the singer’s range. If the lower notes in parenthesis are sung here instead of the higher notes, the "climax" effect is not marred since the first trumpet part will be playing the higher "climax" notes that are intended to be there to give the music its "peaking" effect.
With today’s music notation software, it has become very easy to insert cues such as these quickly and easily into scores. By using the techniques of copying, pasting, and then reducing these notes to "cue" size in scores, it can quickly turn many compositions into ones that are more practical and performable. I have found that scores that have these features "built in" to them often make them more likely to be selected for performance.
There is clearly a need for the promotion of this kind of writing to aid composers in the creation of more accessible contemporary music. Indeed, many good modern compositions have been "lost" to the fact that its formidable difficulty level has often proven to be too strong a barrier to secure a performance. Therefore, as a composer, I am addressing a real need among all serious composers today on how to balance artistic and pragmatic ideals when creating contemporary works of art. This can be remedied if composers would learn to prepare their scores with some simple, practical techniques for our time. Utilizing current music notation software programs, these cueing techniques can be quickly and easily incorporated into many types of new scores. Incorporating these techniques will create more effective rehearsals, increase the score’s likelihood of performance, and practically assist in the playing of these works.
Example 1
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Example 2
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Example 3
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BIBLIOGRAPHY
Books:
Mix Bookshelf
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Phone: (800) 233-9604 or (415) 653-3307
Magazines:
Computer Music Journal Electronic Musician
55 Hayward St. 6400 Hollis St., Suite 12
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Phone: (617) 253-2866 Phone: (415) 653-3307
Keyboard The Music & Computer Educator
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Cupertino, CA 95014 Huntington Station, NY 11746
Phone: (408) 446-1105 Phone: (516) 385-7107
Articles:
Garrigus, Scott R. Scoring on the Web. Electronic Musician, 7/99: pp. 102-108.
Rubin, David M. Noteworthy Deals. Electronic Musician, 12/97: pp. 36-50.
Shrock, Rob. Coda Finale 2000. Electronic Musician, 2/00: pp. 202-210.
Smithers, Brian. Sibelius Software. Electronic Musician, 5/99: pp. 116-122.