Technology has brought about fundamental changes to music composition. I remember when you sat down at a piano and notated a piece on score paper. Then after the score was completed the composer would transpose each part to it's own page. These manuscripts would be distributed to the musicians.
Composers like Billy Strayhorn got so good at this workflow that they could write a piece on the score with all the parts transposed and then write out the parts and have a piece ready to play in a few hours. On Brooke Gladstone's NPR podcast "Take The A Train", we learn Billy Strayhorn would compose in his head and he would only write the composition down after it was done.
Needless to say, not all composers have the talent of Billy Strayhorn, and most of them were glad to use music notation programs, like Finale, to transpose their parts. And the musicians were also happy to play from printed scores instead of manuscript.
Music notation programs were an important technological advance for composers. They are not, however, a great composition tool. There is something about a pencil and eraser that makes it easy to change and improve a composition. I prefer waiting until a piece is done before I go to the computer.
I do compose in my head sometimes, but unlike Billy Strayhorn, I've never written an entire piece before I wrote it down. In fact, I've been known to work on a melody or a change and then when I wake up the next morning it's gone. So I turn to technology.
This article describes my new way of composing. Every composer has their own way of composing and they can each devise their own new way.
My Toolbox
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Pencil and paper - Although I don't write out complete scores anymore I still always have blank paper and manuscript paper ready for jotting down ideas.
Electric piano - Not every composer works at a keyboard but many do. Not everyone has a piano. I have quite a few. I use my Roland Go:Piano for composing because it's convenient, fits in small spaces, and is battery powered with rechargeable AA batteries. I also use this piano for performing and rehearsing because it weighs 9 lbs and it's battery powered.
Speaker - The Go:Piano has built in speakers but for the best sound I play it through a JBL Eon One Compact. I never realised how good this piano sounded until I played it through this speaker. The Eon One Compact is also battery powered or it can remain plugged in for convenience.
iReal Pro on a tablet - I use a Kindle Fire for it's great sound and low price but to install iReal Pro on a Kindle you have to install Google Play first. Most people already have a phone or tablet that will work fine.
metronome - For practicing parts at different tempos. I also do this with iReal Pro. Sometimes I just want clicks. Sometimes backing tracks.
Zoom flash recorder - Again, any recorder, phone, computer, or tablet will work. I use my Zoom H4 because of the high quality built in mics, battery power, and I already own it.
Finale - Finale is supported on Windows and Macs. There are many alternatives including free alternatives and online alternatives. Finale has a free alternative called Note Pad and a cheaper alternative called Print Music.
My Workflow
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I write by playing piano. Sometimes chords first, sometimes melody first. I use pencil and paper to notate the chord change. When I have the start of something I'm happy with I record it. Otherwise I can easily forget part of the song I'm working on.
I can do this over a period of days. Playing the piece. Singing the piece. Trying new things. Recording parts I'm happy with. Sometimes a piece falls together in one writing session. More often I continue working on it tomorrow.
iReal Pro has an edit feature where you can enter your own chord changes. After I enter the chord changes iReal Pro has algorithms that play the bass and drum parts. (If you play a horn ireal Pro can also play the piano parts.)
I practice with a metronome and with iReal Pro. Playing the bass and drums backing tracks makes it easier for me to focus on the piano parts and learn the exact rhythms that I want. Improvisation is great and I do improvise during the composition process. My goal, however, is to complete a part with every note and rhythm defined and repeatable. My real composition space is the interface between my fingers and the keys.
Since I write jazz songs they usually have a form that is from 12 to 32 bars in length. The melody and the chord change is called the head. When I am happy with the head I practice it until I am able to play it from memory without mistakes. I continue improving the piece throughout this process, recording it frequently.
It helps to listen to the recordings to hear places that need improvement. So the recordings help me remember what I played yesterday and they also give me a listener's ear on the song.
After I am happy with the head part of the piece I transcribe it to Finale. Transcribing other people's work can be hard. Transcribing your own work is much easier. The hardest part, for me, is making sure all the rhythms are correct.
Jazz is often written in a rhythmic style called swing. Jazz rhythms often have a delay element where it sounds like the musician is playing behind the beat. Jazz vocalists often milk a part singing in what, at first, sounds like free time.
It can be tricky to notate these rhythms in Finale so that they sound like the piece I just wrote and memorized. This is the reason that I learn the piece before I start notating the piece. It is too easy to get used to a rhythm that is close but not exactly right after repeated listenings on Finale.
After I notate the piece I sometimes find ways to improve it. In particular I can get lazy with my left hand rhythms while I'm working out a melody. If I have an idea for improving the left hand rhythms I will notate that idea and then play through the new notation. After I am comfortable with the new rhythm I decide if I want to keep it. If I don't actually like it better Finale supports undo.
As I build out the piece beyond the head, adding harmonies, counterpoint, alternative melodies, solos, and background parts I work back and forth between the Finale notation and the piano and voice. I always focus on the music first and the notation second. The notation should derive from the music. For reading musicians this is sometimes hard to grasp because throughout all their music training they are handed a piece of sheet music and then they derive the music from that. This is exactly topsy turvy from the way a composer writes a piece.
Anytime I add a new part I always go to the piano or voice first. I play until I get something I like. I practice it. I record it. I listen back and I improve it. And then, finally, I notate it. So it's just like the workflow described above, done for each new part.
The exception to this, in my workflow, is writing homophonic harmonies. Since the rhythms are already there I am dealing with note choices so I work with the notation and the piano at the same time adding harmony parts to a melody.
I also use Finale to play just the harmony parts over the bass or just the harmony I'm working on and the melody over the bass. Finale has a mixer that allows me to solo just the parts I want to hear. By leaving out the other instruments it makes it easier to hear the new harmonies.
My goal in writing each harmony part is to write another melody that sounds good played alone as well as when played with the melody or the whole band. Playing just the single harmony part with the bass makes it easy for me to hear that part's melody.
When I have a section where it is listenable I seek knowledgeable advice. I play, sing, or play the finale version for people who will give constructive comments. When you play your music for most people they try to be polite and say things like "that's nice" or "I like it". Try to find people who will go beyond that, actively listen, and point out the parts that work for them and the parts that don't.
I do not rigidly adhere to this workflow. It is my general practice.
Your Toolbox
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You may not play piano. You may be more comfortable writing on your own instrument. You may want to write melodies on your horn and write chord changes on guitar. Or, like Billy Strayhorn, you may prefer composing in your head.
Every composer and every musician has a different skill set and a different approach to music composition.
You still need a toolbox. Probably at least this.
Pencil and paper
An instrument or your voice
A metronome (could be your phone)
A recorder (could be your phone)
A notation program (could be online)
Your Workflow
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You will develop this by exercising the practice of composition. The important thing is not to follow a particular workflow but to be aware of what your workflow is. Develop your own workflow thinking about what you do in those terms. Document it if it helps. It certainly helped me.
Creative work is still work and sometimes creative people have to deal with time constraints and deadlines just like anyone doing any kind of work. An established workflow makes it easier to complete tasks on schedule. An awareness of your workflow makes it easier to start projects and easier to finish them.
As the famous composer Sly Stone said, "It's your thing. Do what you wanna do."
Collaborate On Crates With Hairy Larry
Turn this jazz trio into a quartet
Recorded Live at HairyLarryLand on 2024-01-04
In a nutshell
Play along while listening on headphones.
Record to phone or tablet in vertical mode (portrait not landscape).
Share your video with hairylarry@gmail.com.
I will add your video to the left side of this video and post the finished video.
Details
Your shot
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Pick a good background in a well lit room.
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Collaborate On Crates With Hairy Larry
Turn this jazz trio into a quartet
Recorded Live at HairyLarryLand on 2024-01-04
In a nutshell
Play along while listening on headphones.
Record to phone or tablet in vertical mode (portrait not landscape).
Share your video with hairylarry@gmail.com.
I will add your video to the left side of this video and post the finished video.
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I played this on my twitch livestream on October 17, 2021, with an arrangement designed for collaboration. Collaborators play over a piano trio with the bass and drums provided by an irealpro script with the chords for my original song, "Malaysia". The irealpro app can be viewed running on my tablet on the right side of the video screen.
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This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring John Stowell, The Trondheim Jazz Orchestra, and Rob Alley. For more about the show visit the Something Blue website at sbblues.com.
Don’t miss Something Blue, Saturday night at 10:00 PM CST, at kasu.org.
John Stowell/Michael Zilber Quartet – Basement Blues
www.johnstowell.com/
Trondheim Jazz Orchestra & Eirik Hegdal with special guest Joshua Redman – Triads and More
trondheimjazzorkester.bandcamp.com/album/triads-and-more
trondheimjazzorkester.bandcamp.com/
Rob Alley Trio – Live at the Craighead Forest Bandshell on June 21, 2009
www.bigbandofbrothers.com/rob-alley
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This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring The Hanging Chads, NJHB, and Vertigo Jazz Project. For more about the show visit the Something Blue website at sbblues.com.
Don’t miss Something Blue, Saturday night at 10:00 PM CST, at kasu.org.
Vertigo Jazz Project Live at Double Door Inn on 2009-05-22
archive.org/details/vertjazz2009-05-22.flacf16
Hanging Chads Live at Sheraton Hotel Deck Party on 2006-09-15
archive.org/details/chads2006-09-15.flac16
NJHB Live at HairyLarryLand on 2018-07-28
archive.org/details/hl2018-07-28
Bebop Beatniks Live At Blues Fest Craighead Forest Bandshell Jonesboro, Arkansas September 24, 2023
Songs
00:00 African Violet 11:24 Thanks Mr. Cloud … 12:14 The Blue Crane 21:20 The dance floor is open … 21:42 Low Earth Orbit 31:08 Honky Tonk Jazz … 31:54 Sail Boats 38:37 In the audience … 39:15 Freddy’s Blues 45:34 Silence … 45:19 Malaysia 55:53 Introducing the band …
All songs by Larry Heyl
Personnel
Tyler Remagen - sax and flute Hairy Larry - piano and vocals Jeremy Jackson - bass Alex Washam - drums Conley Hunt - percussion and vocals
Bebop Beatniks Larry Heyl Composition Recital ASU Band Room September 10, 2023
Songs
00:00 African Violet 14:30 The Blue Crane 23:30 introducing the band … 24:24 Low Earth Orbit 33:32 Sail Boats 42:22 Freddy’s Blues 52:35 Malaysia
All songs by Larry Heyl
Personnel
Rike Robinson - trombone and vocals Tyler Remagen - sax and flute Cody Daugherty - trumpet Sophie Hacker - guitar and vocals Craig Collison - drums Jeremy Jackson - bass Conley Hunt - percussion and vocals Hairy Larry - piano and vocals
Livestreamed to Youtube from my Samsung Galaxy S10
Bebop Beatniks At Beatles Park Walnut Ridge, Arkansas May 27, 2023
Songs
00:00 We are Bebop Beatniks … 00:23 The Blue Crane 08:53 What a wonderful audience … 09:00 Candles 16:43 I’m going to rap … 17:04 African Violet 28:24 When Conley was a percussion student … 28:48 Low Earth Orbit 38:17 OK, here’s a swing song … 38:25 Sailboats 45:11 Crates is the companion piece to Candles … 45:20 Crates 53:36 One more song … 53:46 Malaysia
Personnel
Hairy Larry - piano, vocals Alex Washam - drums Conley Hunt - percussion Rike Robinson - trombone
Bebop Beatniks
On The Twitch Porch
April 2, 2023
Songs
00:00 Stardust by Hoagy Carmichael, public domain
08:27 African Violet
17:05 Sail Boats
24:26 Malaysia
33:37 Low Earth Orbit
42:37 The Blue Crane
DJ Hairy Presents Bebop Beatniks Playing The Blue Crane From The Archives Of Something Blue – 2024-10-27 Bebop Beatniks Photo By Rachel Ann Wilson Washam Thanks Marty. Today I’m going to play the title track of the soon to be … Continue reading →
Something Blue – Hand – June 12, 2021 – October 26, 2024 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring Dirk Quinn, Billy Jones, and Soule Monde. For more … Continue reading →
Thanks Marty. This week on From the Archives of Something Blue we’re hearing some real blues recorded at Bluesday Tuesday. Billy Jones Bluez is from Central Arkansas so Bluesday Tuesday in Newport was a good fit for them with less … Continue reading →
Something Blue – Basement – May 15, 2021 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring John Stowell, The Trondheim Jazz Orchestra, and Rob Alley. For more about the … Continue reading →
Thanks Marty, this week on From The Archives we’ve got a jazz standard recorded at the Craighead Forest Bandshell. Rob Alley taught at ASU and I recorded him several times at The Edge Coffeehouse so I was thrilled when I … Continue reading →
Something Blue – Barn – May 8, 2021 – October 12, 2024 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring Plain Meanness, Chris & Spigs, and The Aerolites. For … Continue reading →
Thanks Marty, this week on From The Archives we’ve got another song from Blue Monday. If there was ever a band you could call eclectic it’s Plain Meanness. They play more variety in one set than you are likely to … Continue reading →
Something Blue – Muffin – April 24, 2021 – October 7, 2024 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring The Hanging Chads, NJHB, and Vertigo Jazz Project. For … Continue reading →
DJ Hairy Larry Presents NJHB Playing Malaysia From The Archives Of Something Blue 2024-09-29 Thanks Marty, this week on From The Archives I picked a song from one of my favorite NJHB albums, “Stinger”. Chris “Stinger” Stevens was a guest … Continue reading →
Something Blue – Hide – September 28, 2024 This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’re featuring The Beau Sasser Trio, The Mudcats, and the Benevento Russo Duo. For more … Continue reading →