This post is inspired by the many times I’ve played new compositions where an eager composer has presented his or her freshly printed score, with no understanding of brass writing whatsoever.

Now, not many people know this, but in addition to working as a trumpet player for a time now, I also hold a degree in music composition. Being able to draw on information from both of these worlds, my hope is that composers will gain some benefit from this post.

Note: No, there are no absolutes in composition. However, you must know the rules before you can bend or break them!

Rule #1: If you are unsure, ASK

If you don’t know the difference between a French Horn and a Tenor Horn, or if you’re not sure if 3 octave leaps on the piccolo trumpet work, find some brass players and ASK them.

It will save time, money (if you’re on a budget), and above all, it will save everyone a lot of frustration!

Rule #2: Listen and read

No, listening to music by other composers won’t ruin your own creative processes.

In fact, listening to the music of master composers, whilst reading through their scores, will help you to gain an understanding of how to notate various sounds, effects, nuances and so on.

I believe it should be compulsory for all student composers to listen to, and read the works of master composers through the ages.

Rule #3: What works on a computer might not work in the real world

Thesedays, many student composers spend too much time in front of the computer and not enough time in the real world, listening to, and studying the instruments they are composing for. A composer should know his/her instruments as well as the musicians playing them.

For example, brass players need to breathe before playing, and between phrases. Computers don’t. Try singing the phrase you have just composed. Did you allow places to breathe?

Also, can you sing the right notes in the right place at the right time at the right dynamic? Worth thinking about.

Something to avoid:

Hey, look what I’ve written! F over high C played 17 times in a 5/16 bar, repeated for 15 minutes non-stop! It sounded great on the computer!

Rule #4: Go to rehearsals and live concerts

Ask to sit in on rehearsals – big band, orchestra, solo, chamber, everything! Take a score with you, and don’t forget to turn off your mobile phone!

By sitting in on rehearsals with a copy of the score, you can see first hand what works, where difficulties might lie, and what elements of technique you may need to take into consideration when writing your own scores.

Finally, going along to the concert to see the finished product of the rehearsals is a nice way to support the performing musicians. (The very same musicians that may be performing your works in the future!)

Rule #5: R-E-S-P-E-C-T

When working together with a musician, you can quickly build a strong partnership by showing respect for the musician. Remember, many musicians practise for several hours every day, and they have been doing so for years.

How do you be respectful?

Firstly, simply ask politely if the musician is interested in working with you. Remember that unless you’re paying the musician, he/she is applying those thousands of hours of practise time already accrued, on your piece of music, for free. He/she may have many other projects on (paid or unpaid) at the same time.

Understand that it is often not simply a matter of taking your score and performing it in concert. There are steps to take. For example, the musician may have to first look over your score, perhaps work with you on it, offer pointers, practise, and then finally perform your work.

If your musician is performing your work without payment, a token of appreciation (in whatever form that may take) after the project is complete will almost certainly be appreciated.

Remember that in showing respect in this way, you will gain respect yourself.

Do you have any tips to add? Or experiences to share?