36 !!Chapter 3
Compose and Arrange in the Generic Style
of the Instruments !!A musicians’ contrac-
tor (referred to as a ‘‘con-
tractor’’) specializes in hir-
ing the most skilled
musicians for an assign-
ment; they also submit the
union contracts that are re-
quired by the various
unions. This is a highly spe-
cialized skill. If composers
request musicians who play
unusual instruments, a
competent contractor will
know them. For example,
the Broadway production of
The Lion Kingrequires nu-
merous African instrumen-
talists. Not only do the mu-
sicians have to be capable
of playing the score, but
they must also be ‘‘actors’’
because they are onstage
and part of the production.
Many composers (arrangers) compose
music using an instrument, such as piano
or guitar. One of the dangers of this
method is they might not internalize the
generic sound of the instruments they are
writing for. If they have limited technical
ability on their instrument, their writing
may be compromised.
While writing for strings, it is impera-
tive that composers (arrangers) under-
stand the various bowing techniques.
Bowing cannot be heard on a piano but
can be internalized in composers’ minds.
Alegato(smooth)passagerequires
smooth bowing that is indicated by bow
markings in the music and by arco mark-
ings. Pizzicato is a plucking of the strings
and creates a unique effect. Tremolo is
created by the bow moving quickly across
the strings, creating a trembling effect.
Very high parts written for the violins will
sound thin in the studio minus a full com-
plement of violinists playing the same part.
Internalize the part first and then write the notes. This technique
should be applied to all parts that live players will perform. ‘‘Hearing’’ the
instrument (internalizing) will enable composers to capture its true
essence.
Hire native musicians to perform compositions written in a typical
folkloric style. The use of ethnic instruments requires a complete under-
standing not only of the technical limitations of the instruments but also
of the creative playing styles. Characteristic rhythms, patterns, and orna-
mentations are native to performing styles. If a nonnative musician can
play an instrument, the performance will not neccesarily sound authentic
if the musician is not involved in the musical culture and customs of the
native society.
The Census Bureau requested a commercial campaign comprised of
twelve commercials; they required various authentic styles, such as Ara-
bic, Polish, and Russian. (Examples of each genre are available on the
Internet.) The commercials stressed the benefits of filling out a census
report. This assignment also addressed the problem of changing musical
and emotional moods within the same commercial. Each spot opened with
scenes of the native country of a family and evolved into that same family