On a warm July morning, twenty one musicians descended on Harlaxton manor for five days of flute playing and composing at the annual rarescale summer school. An eclectic bunch, the flautists ranged from talented amateurs to music college graduates embarking on performing careers, and the composition group consisted of undergraduate music students and early career composers.
I have, probably since the age of 14 or so, identified myself as a composer. I played piano (and also guitar and flute rather unsuccessfully), and have variously performed as a classical pianist, accompanist, duo partner, cocktail pianist, jazz pianist, and even a keyboardist in a rock band, yet because I studied composition at music college, and I now lecture in composition, I never really identified as being a performer.
“I think piece titles are very important! A piece should drape naturally from its title, in the same way a coat hangs off a peg. I often find the music suggests a title, which certainly happened in Summer Anthem, with the title drawing upon the generic association of dance music with the summer season and of this genre with club ‘anthems’, this term often indicating a big hook.”
It is easy to dismiss the Listening Log as less important than the composition component of an assignment, but this is not the case; listening is a crucial part of improving one’s musical ability. Therefore, when assessing, it is wonderful to see the work of students who have fully embraced the Listening Log, and David Lake’s submission is a perfect example of this.
Join OCA tutor Chris Lawry and saxophonist, composer and publisher Keri Degg on Saturday 29 July 2017 for a composition workshop at MAC Birmingham. The day will consist of advice and discussion on writing for saxophone and getting pieces published and will feature performances and feedback of student compositions.