(Coming Soon) A New Music Community
I'm thrilled to share some exciting news with you! I am in the process of creating a brand-new membership community and resource site centered around Composition, Music Theory, and Musicology.
As I have thought about my musical journey - I learned so much more when my professors brought me alongside them in their work, rather than just sitting and listening to a lecture. I got to see the creative process in action as they worked through real-world problems. And that’s what I want to create.
What is the Membership Community?
This upcoming membership community is designed to be a unique blend of learning, training, and community, through direct access to my creative work in composition, theory, and musicology. It’s a place where passionate musicians can deepen their knowledge, explore new ideas, and connect with a supportive community of like-minded individuals. It’s a place where we can all get better at our craft, and become better musicians, together. The community would be built on four core values: community, accessibility, innovation, and discovery.
Community:
I’d like to create a vibrant network of musicians. Composition and music research can be very isolating activities. Communities are often only found in academic settings, but we can change that. Engage in meaningful discussions, ask questions, and support each other’s growth. No one has it all figured out - we can all become better musicians together.
Accessibility:
Whether you’re a veteran musician or brand new; a student or educator; a composer, a performer, or a researcher; the music resources in this membership are designed to be accessible to everyone. Gain insights from detailed courses, access exclusive content, and learn at your own pace. I want to give everyone the chance to improve and excel, regardless of their background, musical style, or experience level.
Innovation:
One of my personal goals is pursuing innovation. That includes my creative work, but it also means pursuing innovative approaches to learning and creating music. From advanced masterclasses to unique composition techniques, we will continually explore new methods to enhance our musicality.
Discovery:
Composition, Music Theory, and Musicology are all about curiosity and discovery. There's something thrilling about discovering a new chord you love, or finding easter eggs hidden in the music you're analyzing, or in asking questions about music and finding the answer. This is your opportunity to discover new perspectives and deepen your understanding of music.
What will membership look like?
Details are still being worked out, and I would like to take this site through a Beta testing phase (more details later), but here is what I’ve got so far:
Gold Tier:
Digital Resources
PDF guides/Ebooks, Curriculum guides/Lesson plans, Research Papers, Annotated Scores
Music Downloads
Solo sheet music/perusal scores, Singles/Albums/Stock Music
Community Access
Private Discord Server, Early Access, Priority for lessons, discount, behind the scenes
Platinum Tier:
All Gold Tier benefits plus full access to Exclusive Content:
Online courses
Masterclasses
Exclusive Video Content
Extended Cuts and Commentaries
Live Streams
Office Hours
First Priority for Lessons, Bigger Discount + Discounts on Composition Services
Get Involved early
As I work towards launching this new community, I invite you to be part of its creation. Your feedback and support are invaluable in shaping a membership that truly meets your needs. Here’s how you can get involved:
Express Your Interest: Send me an email and let me know if this idea excites you and you have interest in being a member. Would you like to be a beta tester? Let me know that too.
Provide Feedback: Send me an email and share your thoughts on what you’d like to see in the community.
Support Through Crowdfunding: There is so much work to be done to make this a reality. There's a lot of content to produce, and a lot of website that needs to be designed. It's a lot. So, I'm starting a crowdfunding campaign to bring this vision to life - I am hoping to raise $5,000 to cover the cost of creating the content, and to pay for the web designing that is needed. You can get free membership for anywhere from one month to lifetime access for your donation. Note: The Crowdfunding campaign ended on September 27.
join a thriving music community
Four Questions for Writing Emotion in Music
Music is often emotional, and music often tells stories.
A number of years ago, I noticed that when it came to crafting emotions, and structuring my story for my music - I was usually choosing defaults.
"I'll write a happy song, and it will have 2 verses, 2 choruses, and a bridge." Nothing wrong with that. But, I hadn't intentionally decided whether or not those were the best way to express what I wanted to say.
The first thing I realized was that a good story usually has more than one emotion.
"They were happy, they stayed happy, they lived happily ever after." It's monotonously static. You need more than that for a compelling story.
So, how do we structure our stories, and convey our emotions in a musical way? Here's what I came up with: I ask myself these four questions for every song or piece I write - often before I start writing.
1) Polarity. What is the primary emotion? What is its opposite?
A lot of my music is based not just on two different emotions, but on a contrast of emotions. Emotions don't exactly have concrete opposites (like, Up and Down). Sure, maybe the opposite of Happy is Sad. But what if it is Anger? What if it is Melancholy? It all depends on the story you want to tell. Love can be the opposite of Hate, but it can also be the opposite of Indifference. Asking this question helps me understand the big picture structure of the song.
2) Gravity. Where are we being pulled? What is the force creating the pull?
You could ask this in a musical sense (as in, the leading tone is pulling us to the tonic). But you can also ask this in an emotional sense to help you figure out where your piece wants to go.
3) Journey. What is the emotional journey from start to finish?
If polarity helped me understand the structure from 30,000 feet, Journey is the specific twists and turns the piece took to get there.
There may only be two emotions in the piece - in that case, this is a roadmap of how they interact. But, often there are a lot of emotions, and only two that are primary. Then I need to ask, how do these emotions weave their way into the narrative.
4) Arrival. Where did we end up?
Some composers (and listeners), strongly prefer that the piece end in a logical and expected place. Perhaps that is the most musical choice. "And they all lived happily ever after."
But one thing I like to try is to subvert expectations - try to end the piece with the listener in wonder. Either amazement because they didn't see the ending coming, or, in reflection because I left the ending ambiguous, and it is almost up to the listener to decide how exactly it ended.
Of course, all of this speaks very little to converting emotions into music. That tends to be a highly subjective topic anyway. But, what I'll do with this information after I've done this exercise is to write down every single technique that I can come up with that will convey those emotions using the instruments I have on hand for that piece.
The picture I've attached is from a piece where I wanted to create uncertainty - almost like a fog or a mist; and to the right you can hear how that translated to music.
How do you create emotion in your music? Is it a process like I have just spelled out? Or does yours flow a little more fluidly? Let me know in the comments below.
And if you find this insightful, consider subscribing to my email newsletter:
If you’re looking to learn more about composition and would like to work with me, I’d love to tell you about the different options I’ve got for that. Click here to learn more!
A List of Music Recommendations and Gear I Use
I get asked rather often what I use in the studio to create music, or if I have recommendations for books and such for younger composers. So, I decided it might be helpful to have all of those things together in a single list.
Books
Music Theory
Music Theory and Composition: A Practical Approach (Textbook)
Theory of Harmony (Schoenberg)
Music of Lord of the Rings (Douglas Adams)
Music History
The Oxford History of Western Music (Taruskin - 5 volumes)
A History of Western Music (Burkholder - single volume)
Composition
Behind Bars: The Definitive Guide to Music Notation (Gould)
The Study of Orchestration (Adler) (if you only get one book, I’d get this one)
Fundamentals of Music Composition (Schoenberg)
How to Write for Percussion (Solomon)
Introduction to Post-Tonal Theory (Strauss)
Scholarly Articles (Free Online)
SMT Online - a quarterly journal for Music Theory and Music Analysis, usually has about 7-10 articles per edition.
AMS Journal - This journal features articles in musicology.
Supplies
Softwares
Equipment
Vanguard Alta Pro 263AB Camera Tripod
Rode VideoMic GO II Mountable Microphone
Note: This post contains affiliate links
Setting Realistic Writing Goals
To be clear:, I’m incredible at setting goals; I’m terrible at setting realistic goals. Maybe you’re there too. We get all of these amazing ideas in our heads.
I’m starting a composition #100daysofpractice or a #100daysofwriting whatever you want to call it - I’d just like to be more consistent. Well, I need a plan of some sort for where I’d like to be at the end of the 100 days (sometime in June) - and that’s where the problem lies. So, I thought “what if a student had asked me that question?” And well, we will see how it goes but here are three things I’ve come up with for setting realistic composition/songwriting goals.
Figure Out Appropriate Pacing
Take a look at your recent writing output. How much have you written over a certain period of time? You can probably expect your output won't be significantly more than that. Perhaps you finished 1 piece/song last month. You're probably not going to suddenly write 10 this month. Set a goal of finishing one piece/song, and if you get to more than that - Great!
If one of your goals is to be able to write more/write faster - then start where you are and work your way up incrementally. You can do this by setting Input Goals: "I will write 30 minutes each day." And if you want to build up incrementally: "Each week, I will add 10 more minutes to my writing time." Of course, all of that depends on your schedule and how much time you can actually devote to writing.
2. Factor in things that are writing adjacent.
I'll often work all day editing a manuscript and then feel like I didn't write at all that day. Which isn't true. These things that are associated with writing are critical parts of the writing process. These are things like Freewriting and Experimentation - where you are just playing around but not actually making progress on a project. Or maybe it's studying the work of another composer for their use of techniques. Or, practicing new techniques on your instrument - or figuring out with players what is physically possible or comfortable. Or perhaps like I mentioned, editing and revisions. All of these things are crucial, but they take time, and we need to factor in those things for setting realistic goals.
3. Set goals that are consistent with your long-term goals.
I have had periods where I wrote what I felt like I was "supposed to" write. If there's no one commissioning you to write a piece, there's no reason to spend time writing a piece you don't want to write. Make sure the things you are doing on a daily basis actually line up with your desired trajectory as a composer and songwriter. What can you write today that will serve as a stepping stone to where you want to go? Don't chase after every opportunity just because it's available. Set goals based on what is going to fulfill you artistically, and what is going to help you in the long run.
So, that's where I am today. Day 1 of 100. I'll be documenting this journey so make sure to follow along from now until June, and we will see where I end up.
Planning Out Your Next Song
[Note: This is post #2 in a five part series on the composition process. If you have not read the introduction post, you can do so here. If you would like a free PDF of the material we’re covering, you can get your copy here.]
Now that we have an overview of the process, let’s zoom in and take a look at each of the phases - starting with the Planning Phase. Planning is a crucial part of the composition process, and it can set you up to have a much smoother writing experience. Maybe planning is something you do every time, or it may not be something you’ve ever thought about. I’ve got four steps, and they should help you stay organized in the writing process.
The Importance of Planning
First things first, let's talk about why planning is so important. By taking the time to plan your composition, you can:
Create a roadmap for your music
Stay organized and focused throughout the writing process
Create a cohesive and intentional piece of music
Avoid writer's block and other creative roadblocks
Improve your productivity and efficiency
Avoid creating problematic music, that you might have to go back and fix all of those mistakes later.
Without a plan, it's easy to get lost in the creative process and lose sight of your goals. I sometimes get caught up in just writing, and almost inevitably I end up having to go back and come up with a plan so the piece isn’t a complete mess.
Other times, you might hit a wall and have no clue where to go with the piece next. But, with a plan, you can always go back and check the map. Having that plan will usually improve your efficiency in writing the piece.
Collect Musical Materials
Before you start planning your piece, collect musical materials that will serve as the building blocks for your composition. Maybe you’ve had an idea in your notebook, and now you’re getting around to writing it. Maybe you’ve got sketches all over the place (on napkins and whatnot) and they need to be consolidated. By collecting these musical materials, you'll have a pool of resources to draw from when you start planning your piece.
I used to try starting from absolute zero with a plan, and then I realized that was a terrible idea - at least for me. It’s definitely better to have some materials that you can use to create a plan with.
If it’s a song with lyrics, I will at least have some of those lyrics on hand for this planning phase. You don’t have to have all of the lyrics completed, just enough for you to know the central ideas of the song.
Purpose of the Piece
What kind of music are you creating, and what's the goal of the piece? Is it a pop song that you want to pitch to a record label, or a cinematic score that you want to use in a film? Defining the purpose of your piece can help you stay focused and ensure that your composition aligns with your goals. Of course, not all music has to have some greater “purpose”, it can just be music. Also, if you’re writing for a performer or ensemble, they might have some purpose for the piece (like an anniversary, or the dedication of a new auditorium…something like that)
You might also consider what sort of meaning the piece has. Is it a love song? Is it a piece about the grandeur of nature? Is it a piece that represents some scientific or mathematical principal? Again, music doesn’t have to have a “meaning”, but if it does, the planning phase is a good place to figure that out.
Scope/Instrumentation
Next up, it's time to consider the scope and instrumentation of your composition. What instruments do you want to use, and how will they work together to create a cohesive sound? How long will the piece be? Is it multi-movement? Is it a single song, or an idea for a full album?
Sometimes this is really easy. You’ve been asked to write for a particular ensemble, and that ensemble has given you some parameters. Like this piece I wrote for a percussion ensemble. It was for 4 performers, and I was told to keep it under 15 minutes long. Furthermore, because of the nature of this ensemble, I was asked to only use metallic percussion instruments. So, those decisions were made for me; which means in the planning phase, I wasn’t deciding which instruments to use, so much as how I would use them.
Other things to consider here (and it’s okay if you don’t know them just yet): What key will you be in, and what tempo will you set? Consider the genre and style of music you're working with, as well as the emotional journey you want to take your listeners on.
Emotional Journey
Speaking of emotional journeys, it's important to think about the emotional arc of your composition. What kind of mood or atmosphere do you want to create, and how will you achieve that through your musical elements? Consider how the melody, harmony, and rhythm can work together to evoke different emotions and feelings in your listeners. You might even want to create a musical map that outlines the emotional journey of your piece, from the opening notes to the final resolution.
Timeline on an 11x17 paper
I like to start all of my pieces with a timeline, that I put on a single 11x17 sheet of paper. You basically start on the left with the beginning of the work with the end of the piece on the right. I like to start by marking time (in minutes and seconds). Then I’ll place the materials that I know I have where I want them (major themes, melodies, etc). You can also mark down emotion words, and colors, and energy levels - all the stuff you just figured out in that emotional journey section.
The Resources I Use
So what do I like to have on hand to plan a piece of music? Honestly, all you really need is a piece of paper and a pen to do what I have suggested above. But. Here are some items that I have found very handy in this process.
1) Like I just mentioned, I like to work on 11x17” pieces of paper. It just gives me more room for ideas. 8x11” is totally fine too, if that’s what you’ve got on hand.
2) This is my sheet music book of choice. It’s got 18 staves, so it’s great for working with a lot of instruments at once. If you want something more notebook sized, this is a good choice.
3) This is a pen that has 5-points so you can draw a music staff on a blank paper. Very handy.
4) I like to have a ruler on hand for marking straight lines and edges.
5) You might also find it helpful to have an instrument nearby - but honestly, I like to do this stage of the process without an instrument so that I focus on the planning, and not on the writing.
Final Thoughts
Planning is an essential part of the music composition process. By taking the time to collect musical materials, define the purpose of your piece, consider the scope and instrumentation, and create an emotional journey, you can create a cohesive and intentional piece of music that aligns with your creative goals. Plus, by creating a timeline to guide your composition process, you can stay organized and productive from start to finish.
But. Here’s the other extreme - that I’m also guilty of: you can spend so much time planning the piece that you never actually get around to writing it. At a certain point, you’ve got a good enough plan, and you’ve just got to start writing. The piece will become something you never intended - but that’s okay, you’ve also got to be willing to listen to what the piece wants and where it wants to go…but that’s a completely different blog post.
So - if you’ve never done it before - the next time you sit down to write a new piece of music, take the time to plan it out. It may seem like an extra step, but in the long run, I have found that it will save you time, energy, and headaches.
Next time, we will talk about the actual writing phase of the composition process. I hope you’ll join me. Make sure you’ve got your copy of the Beginner’s Guide to the Composition + Songwriting Process.
further reading
Introduction to the Composition + Songwriting Process
Why have a Process?
There are a lot of steps and a lot of moving parts when writing a song, or a piece of music. This is why it's really easy to get stuck and frustrated, or even to abandon a project entirely.
It's much easier to accomplish anything if you've got a plan. And for years in my own writing journey, I would constantly get stuck. Whenever I would begin a new piece, things would start off great, until I hit some sort of a wall, and it was like trying to reinvent the wheel every single project. So, I finally had to sit down and write out my personal process for writing a piece of music. Anything that I did that made writing a piece easier, or anything that if I didn't do - I'd have to come back later and do it anyway. Take all of that and put it in a nice linear format, and you've got yourself a bit of an algorithm for writing music.
Of course, it doesn't quite work that nicely. Composition is a messy art. It's not linear, and that's exactly why you need a map. Something you can go back to when you end up lost off the beaten path and unsure which way to go now.
Each and every composer needs their own personal process - we each have a different brain. Our field is an art. This is not a McDonald's, where the goal is to put out an identical product each and every time. We each have our own voice, and our own personality, and our own workflow which produces the results that we want.
However, I think there are four phases to the composition process, regardless of the composer; regardless of the style of music, or era of history.
This is the start of a Five Part series, taking an in-depth look at the composition process. Today, I'll just give an overview of the four phases, and then the next four posts will look at each of them in more detail.
What makes it a composition?
Let's start by defining a composition. There are many ways to write music, and a composition is a specific type of written music. All of the types of written music are valid and good, I'm not trying to elevate one over another, I'm just trying to focus all of us on the same idea. Disclaimer: These are the definitions I'm giving for the sake of this series, other musicians might have varying definitions.
1. A Composition is Original
A composition is a work of music that is new and original to the composer who wrote it. This distinguishes a composition from an arrangement, or a cover. With arrangements and covers, (generally) another composer wrote the source material, and you are just putting your own spin on it. This takes a great deal of skill and consideration, but it's not what I'm talking about in this series. Maybe we'll do a different series on how to do a cover.
So, a composition then, is a work that all of the material is original to the composer (or composers, in the case of a co-write). That's important for our purposes because it gives a composition its own specific process.
2. A Composition is different from an Improvisation
The fact that a composition is planned separates it from an improvisation. You'll often find musicians who have a propensity towards one or the other. I am on the composition side. I have very little ability to improvise. I find that it is very similar to those who can stand up and give a rousing speech of the top of their heads, versus those who do much better to sit down and carefully craft a novel. It's often two separate skill sets.
There's also no editing an improvisation - you know, by definition. Once you've played your saxophone solo, it's over - there's no redo. Of course, once you get into the recording studio with jazz musicians, the line between composition and improvisation starts to blur.
But here we are talking about a planned, crafted, and edited work of music - known as a composition.
One other note: Some might make a distinction between a composer and a songwriter - but I do both and they both have the exact same process for me. So, these four phases apply to both songs and instrumental compositions.
A Free PDF
For this series, I've made an infographic PDF of the entire composition + songwriting process that we're talking about - and it's free when you sign up for my email list. It's also an interactive PDF, so it has links to 16 additional composition resources. You can get your free copy of it here, and follow along as we go the next four posts.
The Four Phases
So what are these four phases? You can break the composition process into the Planning Phase, the Writing Phase, the Editing Phase, and the Transferral Phase.
Planning Phase
Like I mentioned earlier, a composition is planned. Even if you start with a template (say "Verse, Chorus, Verse, Chorus, Bridge, Chorus"), that's still a plan. You're deciding a number of things about the piece before you actually get into the writing of it:
- What's it going to be about?
- What instruments are involved?
- What compositional techniques are you going to use?
- How long will it be?
- What emotions do you want to portray?
And maybe you don't know the answer to some of these things to begin with, but I have found deciding on some of these things before I start writing makes the process go a lot smoother.
The planning phase can look vastly different depending on the style of music. If you're writing film or video game music, the planning phase is very different than a piece that is not written for picture.
Writing Phase
Once you've got a pretty good plan, it's time to start writing. I have found this to be the least linear phase out of the four. I often like to think of the steps in this phase as a checklist rather than a progression. I'll work on a lyric here, a melody there, go back and work on that lyric, then oh, I just had an idea for the B section. It's a rather messy endeavor. This particular section is the place where I get lost most often - but that's why I developed a process. I can always go back and look at the process, and I can also go back and look at the plan I made during the planning phase.
The goal with this phase is to end up with a first draft. I tend to not try to do any fixing during this stage - just get it all out of my head as quickly and as orderly as possible.
Editing Phase
Three main things happen for me in this phase.
1. A music edit. I go back and listen to see what isn't working. A horn part that is not playable. A section where the pacing is too slow. A lyric that's clunky and a little cheesy. A transition that was too abrupt. Those sorts of things
2. Go look for feedback. Composition can be a lonely sport. You've been in your own head the whole time, it's time to bring some other brain into the process.
3. A Notation edit. Unlike the music edit, I'm just looking for things that are out of place in the score this pass. That dynamic marking is in the wrong spot, these two staves are too close to each other. Are my page margins wide enough? Super tedious stuff. Also, something that you may not need to worry about if your goal is to recording.
Transferral Phase
This one might need a different name, but it's the best single word I could find to describe this part of the process.
So we have our final composition - there are typically one of two goals:
1) Record it for audiences to listen to
2) Write it down to hand to players who will perform it for an audience to listen to
Obviously, this particular phase might depend on which style of music you're writing for - as more classical music tends to be the second option, and more popular music tends to be more of the first option.
Of course, there's always that third option where you're going to both write it down, and record it.
The point in all three of these options is that you are taking this idea that was in your head, and you are turning into something that can be understood by another human.
The Series continues...
So, that's a quick overview of the composition process.
Stay tuned for the next four posts where we will look into each of the four phases in detail. Starting with Planning Your Composition.
In the meantime, make sure to get your copy of the Beginner's Guide to the Composition Process.
![[FREE] The Complete Beginner's Guide to the Composition Process](https://images.squarespace-cdn.com/content/v1/588ed41937c5818a6a0b577b/1695052299448-FQ70RDLLDZLJF9XJM5CH/Comp+Infographic+SQ.jpg)
[FREE] The Complete Beginner's Guide to the Composition Process
Free Interactive pdf guide
One thing I hear from composition students a lot is that the entire process of writing a piece from start to finish is a little overwhelming. I get it. There’s a lot of moving parts. The project has a lot of phases, and each phase has a lot of steps (and sub-steps). Especially for composers with ADHD (like me), it can feel nearly impossible to keep track of.
Maybe you’re a new composer, and you want to get started but how to even go about that is kinda paralyzing.
So, I’ve got a new resource here for you today. It’s an interactive infographic outlining the entire composition process. Each place you find a yellow arrow, there is a link to an additional composition resource that will help guide you on the process.
This resource is free, but it is an exclusive for my email newsletter subscribers. So, if you’d like a copy of it you can subscribe to my newsletter by filling out the form below. I’ll send out new composition resources and tips every week - I think you’ll find it super helpful.
How To Start (Over)
I’m trying to start writing music again - after about 6 months off.
I didn’t mean for it to happen…but sometimes life happens. And I think we have to be okay with that.
It’s an interesting to be working through. It’s not like I’m doing something I don’t like, or even learning something new.
This is a journal entry, of sorts, into my journey of starting over. I’ve got three thoughts that I hope will help you if you are in the same place.
1. Start Small
If you’ve been on an extended hiatus from composing, you might want to just try jumping back into your old routine. Let me tell you from my recent experience - it doesn’t work. It’s like I was a marathon runner and then I did nothing but sit on the couch and eat potato chips for five years…and my first day back I tried to run 20 miles…at my old pace.
Taking a break is fine, a slow start after a break is fine.
So, I’ve been trying to write for 5 minutes a day. Only 5 minutes. Whatever I get done in that time is what I get done. I’m going to stay at 5 minutes until I feel like I can write longer.
As you can imagine, not much can get done in 5 minutes. And that’s okay. But, it didn’t take many days until I had forgotten about time and I was going for 10 - 15 minutes.
So - give yourself the grace to start small.
2. Establish a Writing Routine
Once you’ve gotten back in the habit of showing up every day and writing - establish a writing routine.
Now. A quick caution here. If you had a writing routine before your hiatus, it might not work this time around. Your life situation may have changed, the amount of time you can devote may be smaller. And also, this is just the second step after ‘write for 5 minutes.’ So, establish a writing routine that will facilitate your composing where you are right now.
Establish when and where you will write. How long are these sessions? What do you want to accomplish? Remember to be realistic. Your answer here shouldn’t be: “three hours, and I’m going to write a 30 minute concerto today.” But maybe like, “a 30 minute session where I’ll write the A theme for a solo piano piece”
3. Find a Community
Composition can be a lonely sport. You just sit at your desk, just you and your thoughts. It can be very isolating. You also might have the pervasive thoughts:
“I’m the only one going through this.”
“Maybe I just don’t have it anymore”
“Everything I write is garbage”
I promise, there are other composers are feeling this. (I’d also like to say parenthetically, your identity as a composer isn’t based on productivity) A really good strategy for combatting this is to find a community of musicians and composers who are trying to learn and get better together.
That’s what I’m seeking to create with my new YouTube channel. You can check out more about that here.
There are also a good number of online communities that you could plug into. The /r/composer subreddit is a pretty good one - you can ask all of your questions, ask for feedback on your work, and see that there are others who are in your boat with you.
So, if you’re trying to start over, don’t get discouraged. Try these three things. And remember, it takes time.
Remember why you fell in love with composition in the first place. And just write.
Which Notation Software Should I Use?
For any composer/arranger/songwriter who uses staff notation for either writing or performing, you'll more than likely need a notation software. Maybe you want to write it out by hand, but I don't recommend it. It will obvious look much cleaner, and more professional to have your music engraved by a notation software.
How do you know which one to use? Pretty much all of them claim to be the best software on the market. With a multitude of notation software options available today, each boasting its own set of features and quirks, it's natural to feel a little overwhelmed when trying to pick the best one for your needs. Today I'll attempt to guide you through the labyrinth of musical notation software.
Most of the notation software options available have both a free and a pro version - obviously with the free version having less capabilities than its premium counterpart. Which one you need will be dependent on which capabilities you need your notation software to have. Also note that many of these software have some sort of Education Discount.
Noteflight
Noteflight Basic
This is an online software that I would recommend if you have been given a composition assignment in a class and need a free notation software. Very user friendly even for beginners, and it has plenty of features, but you are limited to 10 scores in the free version. So, if you only need it for somewhere between 1 and 10 projects - you're gold.
Noteflight Premium
But, I'm going to bet in the process of creating your first 10 scores, you get really hooked on this whole music writing thing, and you'll want to make more. You can upgrade to Noteflight Premium for either a monthly or a yearly subscription. Premium is where Noteflight really shines. You'll have access to all of the notation input features, but also access to over 80,000 digital scores that are in the Hal Leonard collection. While I think this is a good choice for all composers - it's probably the best choice for those who are looking to do mostly arrangements because of the access to the Hal Leonard catalog. Noteflight also has a great collaboration feature, making it a good choice for ensembles.
Not only that but you've got access to the ArrangeMe platform - Hal Leonard's platform for selling arrangements. If you work with arrangements, you know how difficult it is to jump through all of those legal hoops. Here, most of that is taken care of for you.
Conclusion: Best Choice for Arrangers, A Cappella Ensembles, and Educational Use
Dorico
Dorico SE
This is Dorico's free version. You are not limited by printing or number of scores, but you are pretty limited in terms of the customization (which in my opinion, is what makes Dorico stand out). Many of the options are fixed for you, and you are limited to 8 instruments on any given project.
Dorico Pro
A friend of mine in grad school was a beta tester for Dorico and he introduced me to it, and I was instantly hooked. I originally switched to Dorico because of its capabilities with microtonal accidentals. It has the ability to do most anything you can imagine for staff notation. In my opinion, this software is the most intuitive and user friendly. The amount of customization that you can do with Dorico is almost inexhaustible. I recommend this for higher education and professional composers who specifically need advanced features from their notation software (ie, microtonality, etc). This software is a one time payment (until you want to upgrade). This is my every day notation software, and my performers have always been thrilled with the clarity of the final scores.
Dorico also has a great capability for scoring to picture. So, if you are a film or TV composer (or, are pursuing that path) this might be the software you need. I personally don't do any scoring for picture, so I can't fully speak to its full potential there.
Dorico is from the same developers as Cubase, which makes them rather compatible, if you have Cubase as your recording software.
Conclusion: Best Choice for professional composers, film and tv composers
Sibelius
I don't really have anything good to say about Sibelius. In all of my experience with the software, it's glitchy, it constantly crashes, it's not terribly intuitive, and it hasn't really improved with new software updates. It's also got a pretty high price tag. Anyone who has ever used Sibelius probably has trauma related to a “Sibelius has unexpected stopped working” error.
That being said, it's been around for quite some time and at one point was likely the most popular. I know there are a lot of professional composers who still have Sibelius as their primary software. So, this is just my experience with Sibelius - your results may vary.
One other thing: it is from the same developers as ProTools - so the two are fully integrated. So, if you use that as your recording software, you might give this a try.
Conclusion: Choose something else
Finale
This was my first notation software. I found a free version of it way back in like 2005 or something. I used it for over a decade until I switched to Dorico. It's fairly easy to use, but it has a moderate learning curve. I wrote my first major work using Finale, and it was fine. Their website make it sound like it's a way better software than it is.
For years, Finale and Sibelius were like your only two choices - so a lot of professional composers are still Finale users. It has all of the features you're probably going to need.
My biggest complaint with Finale is 1) sometimes you can make a small change and it will completely destroy all of your formatting (like Microsoft Word does sometimes), and 2) it doesn't always make the best decisions when it comes to notation layout. I have spent hours fixing mistakes that Finale made when I input something. You've really got to know your notation standards to know what is correct.
It is much cheaper than Dorico and Sibelius, and it has a good educational price point. So, if you end up learning Finale because it's what is in your school's computer lab, you might just end up sticking with Finale.
Conclusion: If your choice is Sibelius or Finale, choose Finale.
MuseScore
According to its website, it's the most popular notation software - perhaps because it is the only one on this list that is entirely free. All of the capabilities of MuseScore come without cost, it's a free download, and a great software. For the price, the playback instruments in its latest version are incredible (just go look some up on YouTube). This is a great no-risk software for new composers who are trying everything out. If you decide composition isn't for you, you haven't lost anything. But, even if you keep going, MuseScore probably has most everything you'll need. However, I have found for me personally, I don't like the user interface as much (even though it has GREATLY improved from its previous versions)
It's also Open Source, so it's always improving, and you don't have to wait years for a software update. It is very easy to share your music, and have your music found by others.
Conclusion: Best Choice for brand new composers, hobbyist composers
Final Thoughts
To wrap all of this up - you can honestly use any of these softwares successfully.
Consider these factors:
- Price you're willing to invest
- Specific capabilities you need
- The user interface that you find the easiest/most natural
- Sharing functionality that suits you
Perhaps you'll even have to weigh which of these factors are most important (give up some functionality for a lower price, etc.). It's likely that all of these have a free trial, so I do recommend trying each of them out and seeing which one you like the most. At the end of the day, the best software is one that is capable of getting your musical vision in writing in a way that the performers will best understand, and won't cost you your sanity in the process.
One last question: Do I actually need a notation software?
For any composer/arranger/songwriter who uses staff notation for either writing or performing: Yes, you'll more than likely need a notation software. However, not every musician uses staff notation. Maybe chord charts or lead sheets is more common in your genre. Don't feel like you have to use staff notation to be a musician. In that case, you probably don't need a notation software - you might be better served by a recording software.
From the Microphone to the Computer - Essential Recording Gear For Composers, Part 2
We're talking about all of the gear you'll need to have a home studio as a composer by walking step-by-step through the recording signal flow chain. Last time we looked at finding the right microphone. Here’s an overview of the two-part series:
From the Microphone to the Computer
So, in the microphone phase, we took actual sound waves and we converted them into an electrical signal - that's still analog.
At this point in the recording process, you have the opportunity to include any outboard effects hardware, such as a compressor or an EQ...but if you know what to do with those, you're likely not reading this blog post. And if you don't know what you're doing with those, then you can skip this phase.
Digital Converters and Audio Interfaces
Now we need to get the system out of analog. We need to convert it to digital in order to get it into a computer for us to edit. We can do that with a device called an analog to digital converter. What the name lacks in creativity it makes up for in clarity.
After that we need a device called an audio interface. If you aren't familiar with the word interface, it is the border between two things - it's going to allow our audio signal to pass the border into a recording software.
In a lot of studio setups, these are two separate devices. But lucky for you, there are plenty of 2-in-1 devices that are both Analog to digital converters and audio interfaces. Perhaps the most popular one on the market right now is the Focusrite Scarlett Solo, and its big brother the 2i2.
These are incredible good for their price point, and are great for those who don't have a large studio operation. The Solo has one xlr input and one 1/4" input - like for your vocals and a guitar, as if you were playing...well, Solo. The 2i2 has the option for either two xlrs, two 1/4" inputs, or one of each, giving you a little more flexibility (particularly if you wanted to record a stereo pair).
Note: As of the publishing of this blog, a bundle including the Focusrite Solo, a pair of decent headphones, and the Blue Spark Microphone is available and a great choice.
Digital Audio Workstation
At the point your signal passes through the audio interface you can work with that signal in a DAW: a Digital Audio Workstation, or recording software. I was originally going to do a third post looking at which is the best for composers, but this post here says it much better than I could.
TL;DR - Garageband is free if you’ve got a Mac. Logic is the pro version (and the one I use). Pro Tools is great for PC and those with a large studio. Ableton is best at live. FL studio is best at loop based compositions. Audacity is free, but has limited capabilities (can be great for podcasts.) Cubase is great at virtual instruments (and also very compatible with Dorico, make sure to check out “Which Notation Software Should I Use?”)
Monitoring
But, you don't just want your audio in the computer, you need to be able to hear it.
For that, the signal has to be sent back through the audio interface and converted back into an analog sound.
Speaker Cables
Your audio interface will have the ports for some speaker cables - usually one for left, and one for right. You'll want to make sure that the cable you purchase is distinctly a speaker cable. Despite its 1/4" end, the speaker cable and instrument cable are NOT the same thing. You will introduce noise to your recording at best, and damage your equipment at worst. So, make sure you've got some actual speaker cables.
Studio Monitors
I'll be delicate here, as this can spark endless debate among enthusiasts. You need a set of speakers to listen to playback, and effectively mix your recording. The types and sizes of this are quite varied, and the price points are quite varied as well.
The size of your speaker should match the size of your room. In general, for a small to medium-sized home studio, 5-inch or 6-inch nearfield (because you are near the speaker) studio monitors are often a good starting point. They provide a balanced sound and are suitable for various music production tasks.
Your budget will also play a significant role in speaker selection. High-quality studio monitors can be expensive, but there are also budget-friendly options available that provide good sound quality for home studios. I'll list three that I have used in my studio.
One other thing to consider: the type of music you produce can influence your speaker choice. If you're primarily working on bass-heavy electronic music, you may need larger speakers with good low-frequency response (perhaps even a subwoofer). If you're recording acoustic instruments or vocals, smaller monitors with accurate mids and highs might suffice.
Headphones
There are a lot of reasons you might want a good set of headphones for your home studio. From audio editing on the road to hearing reference tracks as you (or someone else) records a new track.
I'm fairly certain you know what a pair of headphones does. And much like the speakers, you can spend a wide range of money, and preferences can start internet wars.
Different headphones have different frequency responses, meaning that they will interpret your mix accordingly. You will want to consider your purpose for your headphones - do you want to accurately mix your music, or are you mostly using them as a reference? You'll want a higher fidelity headphone if you're going to do mixing. The Audio-Technica ATH-M20X is a good budget choice here, giving a decent sound at a good price. For a little more, the Audio-Technica ATH-M50x is one of my favorites. A friend of mine is an evangelist for the Sony MDR-7506, and I feel like he'd appreciate me mentioning them here.
If you are recording multiple musicians at once, and they all need headphones, you'll want a headphone amp and splitter. I've always loved the Behringer MicroAMP HA400 4-ch Headphone Amp - inexpensive and reliable.
Top 10 Book Recommendations for Composers
One frequent question I get from younger composers is "what books should I read to study composition?" So, I've got my top 10 books that have been foundational for me in my career (both as I was getting started, and even still today).
1. Fundamentals of Composition (Arnold Schoenberg)
2. Theory of Harmony (Schoenberg)
If you know anything about Arnold Schoenberg's music, it might seem odd that I have these books on my list. But, they are simply wonderful books for new composers. He breaks everything down in a very accessible way. No book has impacted how I think about composition more than the "Fundamentals of Composition."
This is the gold standard when it comes to music notation. I cannot recommend this one enough.
As a composer who works with classical ensembles and is also self-published, this book is one of the two books that literally lives on my writing desk. After I was rather embarrassed at a rehearsal where my score and parts were (to be honest) rather unprofessional, I had a professor recommend this book to me. I studied it furiously, and it has made all the difference in my score presentations. If you use staff notation which will be read by performers, this book is pretty much mandatory.
4. Study of Orchestration (Samuel Adler)
The other book that lives on my desk. It was first published in 1982, so some orchestration ideas might not seem as relevant today. But it is comprehensive. It works its way through every family of instruments giving you just about everything you could need to know for writing for that instrument. Note: it is definitely more geared towards writing for those instruments in an orchestral context.
All that being said, I reference this book almost daily. Even if you are a complete beginner to orchestration - this book will be a great guide for you.
5. New Musical Resources (Henry Cowell)
First published in 1930, this book was rather groundbreaking at the time. It explores innovative concepts in both composition and music theory. For the time, many of the approaches to rhythm, harmony, and timbre would have been considered unconventional (like tone clusters, rhythm scales, negative harmony, etc) It really showed the potential of non-traditional instruments and techniques - particularly extended techniques.
While these techniques may seem common now, what I really like about this one it how it encourages composers to break free from conventional musical practices and explore new creative possibilities.
6. 20th Century Harmony (Vincent Persichetti)
The techniques of the 20th century in Western music were quite the departure from traditional techniques. This book gives a great overview of the music theory of the early 20th century. It was published in 1961, so it only covers the music of the first half of the century - namely Schoenberg, Webern, and Berg.
20th Century techniques can be rather confusing to beginners, but this book does a great job of explaining complex topics. Being that the early 20th century laid the foundation for what is currently happening in classical music - this book is highly recommended.
7. Study of Counterpoint and Fugue (Joseph Fux)
An absolute all time classic. If you've ever taken a music theory course and wondered where all of those rules came from - it's probably this book. This is a pedagogical book - meaning it was written for students - and it serves its purpose well. You just need to remember its purpose when reading it. The training in counterpoint that it will give you is a great foundation, and it will give you valuable skills as a composer, even if you don't follow exactly what it says (because if you do, you'll end up sounding like Bach but worse.)
In classical composition training, composers were taught orchestration, and counterpoint; and this book is a great place to go if you want to learn counterpoint.
8. Music of the Lord of the Rings (Doug Adams)
This is my personal favorite of the bunch. Unlike all of the other books, this one is simply an analysis of the soundtrack of the Lord of the Rings trilogy. Apparently, they knew they were on to something good, because during the production process, Doug Adams followed composer Howard Shore around, taking detailed notes about absolutely every single facet of the film's score. The result was nothing short of what I'm sure will prove to be one of the best composition books of the 21st century.
In my estimation, the Lord of the Rings music is by far and away the best film score of all times. So, if you are looking to go into film scoring - you need this book. Study every page of it. But, also if you're a Tolkien nerd - you need this book.
9. Techniques of the Contemporary Composers (David Cope)
This was the first ever composition text I read. I just happened upon it in a public library. At the time, I hadn't received any composition training - I was just eager to learn. So, I read it. And though I didn't fully understand all of it at the time, I was hooked.
"Modern" always lends itself to irony, as this book was published in 1984...and is no longer modern. But it does pick up where the Persichetti book left off, and covers the major composition trends of the later 20th century, namely Minimalism, Aleatoric and chance music, electronic instruments, and microtonality.
10. Choral Arranging (Hawley Ades)
As a primarily choral composer, I have spent a lot of time with this book over the years. I have found that on the whole, many composer who are not choir members themselves are greatly under-educated about writing for choir. And as a choir member, I can tell you it's usually very obvious from their writing when a composer has not sung in a choir themselves.
So, I highly recommend this book if you are a composer who is looking to write for choir in any capacity. It walks you through proper voice leading and voicing, text setting and clarity, even the ranges and registers. Do all of your singers a favor and memorize this book.
Further Reading
Embracing Chaos in the Writing Process
The composition process is not a straightforward process. It's quite messy.
But we often want it to be streamlined and efficient. "If I just do x, y, and z; I'll have a piece of music." It's even more frustrating when we look at other composers, and it seems effortless for them. You hear stories of songwriters that wrote a song in 15 minutes, while you're sitting there dealing with writer's block, and you think there is a problem with you:
"Maybe if I was just a better composer, I wouldn't be struggling with this"
The problem is not your skill level, but your expectations. The chaos in the composition process isn't a flaw, but a feature. The goal isn't to get rid of the mess, but to use that mess to our advantage. After all, you can't make an omelette without breaking a few eggs, right?
Here are three ways that we can embrace the chaos in the composition process.
1. Write What You Know First
Notation Softwares, by their nature, force you into linear writing starting at measure 1.
Recording softwares do as well. When you open up a new project, there is a clear expectation that you are working from left to right, and you need to know what you're doing every single measure.
But that's not always what you know. You may only have a lyric fragment or a motif, and you don't know exactly when you're going to use it. Don't give into the temptation to start at measure 1. Write what you know first, and then work your way out from there.
That's one of the reasons I like working on paper - I can work more freely in space. I will either work on large orchestra paper where I can spread out my thoughts, or in a little moleskine notebook that I can carry on the go with me. Both of these options allow me to sketch out ideas without needing to polish them. And they are both helpful when it comes to [starting a new piece].
2. Get To The Double Bar
Speaking of polishing an idea: Don't worry about perfecting any one section - get to the double bar. What do I mean? As quickly as possible, sketch out the entire piece (without having every single answer to every question). Think of this as scaffolding which is set up so that real construction can occur.
Before you start this, it can be nice to have a plan. A rough outline of the structure of the work. I will usually do a timeline before moving on to the short score (where I sketch it out from end to end). Note, with this sketch, I will still work outwards from what I know, filling in the gaps as I figure them out. Still don't feel the pressure to work from left to right.
Don't disrupt the flow of getting your ideas out of your head by tweaking minute details. It's difficult to just let this happen: "what if that idea doesn't make sense? what will the cellos play in that section? How is the voicing of this chord?"
All of this can feel very chaotic - almost like you have no control anymore. But it's a good thing - you are making progress, even if you've made a mess.
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3. Let the Piece Tell You Where It Wants to Go
Which brings us to the 3 way to embrace chaos: let the piece tell you where it wants to go.
Your original idea might not be the best for the piece. You've got to be willing to toss out the playbook if the piece tells you it wants to go somewhere else.
There's a saying in writing that you need to be willing to cut your best ideas if it isn't what is best for the project. Even if it's the idea you thought this entire work would be based on.
I once wrote a piece and I wanted this big climax, followed by this one particular chord progression that would be a very soft pianissimo - it's the first idea I had for the piece, and I thought I was working everything else up to this one moment. But, when I actually finished the work and listened to it - I knew immediately, it didn't work. It was really difficult to cut it from the final score - but it was best for the piece.
Often, one of the reasons that the writing process feels chaotic is because we are demanding order where there is none.
further reading
The Instrument Transposition Chart I Always Wanted
If you’re a performer, conductor, composer, or music student who has to deal with the headache of transposing instruments - I’ve got a brand new resource for you today.
It’s no surprise that transposing instruments are notoriously difficult to understand. The math of compensation is a bear, and that doesn’t even include the notoriously confusing language that goes along with transposition (“it transposes down a perfect fifth? is that written or sounding? so, I need to go down a fifth? I want to punch whoever came up with this.”)
Not only that - in school, I had to learn the ballpark ranges of every instrument. Here’s the thing, it’s difficult to keep memorized - not to mention, we learned the ranges for professional orchestra players. But in my actual work, I usually write for younger ensembles and I need to know their ranges too. It’s another thing that takes a bunch of time and effort to look up.
For the last decade or so, I’ve been compiling a crude version of this on my desk on various scraps of paper so that I don’t have to endlessly google the answer - or flip through an orchestration textbook - only to have to try to decipher what they mean. Now, I’ve completed this “Instrumental and Vocal Ranges and Transpositions” chart as a comprehensive desk reference guide for all musicians.
The chart is divided by instrument family , with 44 instruments total. For each instrument the chart includes:
Ranges for Beginner, Intermediate, Advanced, and Professional Players
Transpositions for each key, and a direct comparison to the concert pitch
Other notes about writing or reading parts for that instrument
Some great applications for this chart:
Writing and arranging for any ensemble that uses staff notation
Study guide for music students who are first learning about the idea of transposition
Educators who are teaching about transposing instruments
Score study for conductors who are using transposing scores
Analysis for music theorists (or music theory students) who are studying scores
Performers who play transposing instruments - especially younger performers
I think you will find this chart to be a priceless addition to your collection, improving your work flow - it has certainly improved mine.
As an aside, if you’ve been considering enrolling in my beginner composition course “Start Write Now”, this chart is included for free when you enroll. Just saying.
To get your copy of the chart click the link below.
further reading
Finding the Right Microphone - Essential Recording Gear For Composers, Part 1
Whether it's recording albums (or just demos), to creating mockups of instrumental works - it's pretty much mandatory for composers to have a functioning home recording studio.
If you're just starting out, all of this may seem overwhelming - after all, you just wanted to write music. So today I'm starting a two-part series where we're breaking down everything essential you'll need to get started.
I'm going to structure this by signal flow - that is the process that a sound takes from its place in the real world to its place in the recording software.
Finding the Right Microphone
This first post will explore the different types of microphones you'll need.
Types of Microphones
The first stop in the signal flow chain is the Sound Source - an instrument (either acoustic or electric) or a vocal. You've got your voice already on your person, and It would be beyond the scope of this post to recommend all of the instruments you might want (although, if you just have one instrument - this keyboard is a pretty good choice)...We'll just start with capturing that sound source.
There are three different types of microphone: Dynamic, Condenser, and Ribbon. Each has its own special powers and works its magic in different situations. The difference between them has a lot to do with physics. I'll do my best to simplify it.
Dynamic Microphones
Let's start with dynamic microphones - the workhorses of the recording world. Dynamic mics work by using a diaphragm (a thin piece of material) attached to a coil of wire that moves inside a magnetic field. When sound waves hit the diaphragm, it moves, and that motion generates an electrical signal. They're great for handling high sound pressure levels, making them perfect for loud instruments like drums and guitar amps. Also, pretty much everything in a live setting.
The Shure SM57 and the Shure SM58 are the industry standard for dynamic mics. Cheap, durable, every recording studio has a collection of them. If you only have one microphone, it should be one of these two.
Condenser Microphones
Condenser microphones are a bit more delicate. They use two charged plates to capture sound. When sound waves hit one of the plates, it causes the distance between the plates to change, and that creates an electrical signal. They are usually split into two categories: Small-diaphragm, and large-diaphragm...I'll let you figure out the difference. They are very good at capturing every nuance of your performance. They're fantastic for vocals, acoustic instruments, and capturing the subtleties of a delicate piano or acoustic guitar.
A great budget condenser microphone is the Blue Spark (update: The Spark has been replaced by the Blackout Spark). It's a great all around condenser with a nice warm tone, but particularly good at vocals (whether spoken or sung). It's also great at handling acoustic instruments - guitar, violin, cello, etc.
Ribbon Microphones
Finally, we have ribbon microphones. They work by using a thin ribbon of metal in a magnetic field. When sound waves hit the ribbon, it moves, generating an electrical signal. Ribbons are known for their warm and smooth sound, making them great for recording strings, brass instruments, and even vintage-style vocals.
Ribbon microphones tend to run a little more expensive on average than dynamic or condenser. But, a decent choice here without breaking the bank is the MXL R144. It's dark and smooth, and it has a nice natural sound.
All of these microphones are around $100 for just the microphone. However, you'll also want some other stuff that will make your microphones work.
Stands
It holds your mic in place - so get a sturdy one. I prefer boom stands because they can be adjusted a lot more. The stock boom stand on Amazon does fine.
Cables
Most microphones use XLR cables to their source, however newer mics (especially for podcasting) use a USB connection. You'll probably want a few of these each in a different length. If you just choose 1, probably go with a ten footer.
We didn't really talk about it because they don't need a microphone, but instruments with a pickup (such as an electric guitar) use 1/4" cables rather than XLR. (As an aside about recording this, I'd run a 1/4" from an electric guitar to its amp, and then stick a SM57 in front of the amp to record it)
Pop-screen
This takes care of really harsh 'P' and 'S' sounds when you're recording vocals of any sort. Here's a pretty good one.
Shockmount
For Condenser and Ribbon Microphones. This keeps ground vibrations from your room from interfering with your recording. These are typically specifically engineered for the microphones they go with - so you will often get one with your microphone purchase. If it doesn't come with it, and you need to purchase a generic one, you'll want to research and see if it is compatible with your mic.
Hopefully this has been a helpful crash course into the world of microphones. Next time we will look at the next stop in the signal flow chain - how to get from your microphone to your computer.