How to write music for instruments you CAN’T PLAY

How do composers write for instruments they don't actually play? It's a question that non-composers often ask - and one that composers themselves often ask themselves. In this video I provide some answers.

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0:00 Intro
01:05 The rule of pie
01:48 Problem 1 - learning from books
03:33 Problem 2 - learning from Sibelius/Musescore
06:40 The reason for making the video
08:14 Solution 1
10:17 Solution 2
13:53 Solution 3
15:31 Crazy Bass solo
17:00 The Ode to Joi-ning my Patreon

[collinmccookcomposer]

As a double bassist, this video made me so giddy! We have the best harmonics and we never get to use them. The double harmonics (where the stopped note is another harmonic) really open the door of possibilities so much wider! Keep up the great work!

[saulgoodman]

The orchestral piece at the end is a modern microtonal masterpiece!

[NameGoesHer]

While Sibelius is amazing (and is what I use) another major problem with it is the dark red notes or the hard to play notes. As a double bassist myself, Sibelius says anything from an f (2 ledger lines above a bass staff) is hard when in reality it’s pretty easy. This leads to so many composers, even professionals avoiding these notes which can lead to pretty angry bass sections who are always given boring parts. I’ve heard that this is a major problem for horns too!

[itznoxy]

Can't wait for the "David Bruce's Flatulent Brass" sample library.

[chrishowe]

Absolutely love the sequenced piece you did with the bass! You might find the money you need for orchestral composing by releasing more commercial music like that! I would love to hear an hour of something like that! ...and, of course, your orchestral work!

[benpm]

As a double bass player, first of all thank you so much for trying your best to compose for such a tough instrument to understand practically. I'd like to point out that pizzicato close to the bridge may be possible, but when the strings are caked with thick bass rosin it usually doesn't produce as full of a sound. Something cool that you could explore is also the tip of the bow and how it can bounce between two strings going up and down between the end of the fingerboard and the bridge, it produces a really cool waterfall sort of technique that no composer seems to utilize. There's a wonderful online resource called ACTOR that tries to decode each instrument and ways to better understand them for composing using real musicians. If you ever happen to fall upon my "techniques for the tip of the bow" video, thank you.

[jonrpearce]

As a percussionist I so often see parts written that appear to be written by someone wilfully lacking any understanding of how the instrument is played. Your comments on idiomatic writing resonate strongly - I could probably play that part at a push, but it won't sound like my instrument nor like what the composer wanted. (Timpani and drum kit being the usual culprits for poorly written parts).
It's refreshing to see your approach, and I agree that getting hands on with the instrument can't be beaten, along with seeking counsel from an experienced player.

Too often in music there is an idea of 'composer writes, delivers the score, performer makes happen', with a real detachment between the two. A more collaborative workshop process, as seen in theatre acting for example, can lead to a far stronger artistic outcome. Communication is good!

Loved the video too, keep being you Mr Bruce!

[rutcimmusic]

that piece/performance at the end was definitely one of the performances I've ever listened to

[LunatiqueRob]

Great video. This is a common problem for musicians who make music solely with sample libraries--often they have no idea how these instruments are actually played, what their limitations are, and what's actually compelling to the musicians who play them. Guitar and bass are two of the most common. When keyboard players who don't play those two instruments compose/arrange using them, they just don't sound authentic, because the phrasing they would come up with would sound nothing like what actual guitar and bass players would come up with. I went through this myself, starting out as a keyboard player, and tried to use synths and sample libraries to emulate guitar and bass, and they never sounded convincing. But once I actually became a guitar and bass player, my writing for those parts was night and day better. Eventually, it got to the point where I would prefer to just play the instruments for my recordings instead of using sample libraries, because I could actually play the parts more convincingly and more expressively.

[MathAndComputers]

To solve the issue at 12:52, you can lightly pluck the string (not a full pizz) each time upon leaving the harmonic to return to the open note more quickly. It's not always feasible, and still takes a little time, but it helps in a bunch of pieces.

[malgen]

When you’re playing the violin/viola, to get a full tone you need to use the weight of your arm to press the bow into the string but you also need to use your index and thumb to transfer that weight into the string, you use more pressure in your index finger and thumb when playing at the tip and less pressure when playing at the frog.

Also drop your elbow and loosen up your fingers and wrist. 😊

[ooinu]

Your “Ode” was tremendous! 👏👏👏 And as a composer who is currently writing string quartet with a lot of harmonics, I appreciate your suffering! ❤

[thbroadway]

From a violist and fellow composer, please loosen your bow David. The middle of the bow should be tip-of-pinky width, or slightly larger for those with smaller hands. That being said, with a little bit of weight in the arm, you'd honestly have quite good tone for someone who doesn't play regularly.

[sralairt]

This video reminds me of the process on how bands write songs. Nowadays, the use of virtual instruments means that the main songwriter of the band can program parts for different instruments and make a demo. The same hurdles of the song not being "PIE" totally apply if they have no idea how the instrument works.

[computer_toucher]

This was a fun one. Loved your bass montage and the final ode, putting yourself out there lol :)

[sorrel]

As a chorister, there are definitely times that I can tell the composer didn't sing my part. I think the point about violin fingering is a good one; there's a difference between something that's technically physically possible and something that the player likes you enough to actually do for you.

[Ryousake]

You just brought back a couple of core memories for me with this video! The first was that I decided to take up double bass and 4-mallet marimba in high school because of a special computer programming course I was in. I practiced it a lot and learned... some. I'm too short to play the double bass, but it really sparked my love of composing and the love of working with the player who has the expertise. And I learned a lot about strings! Then in college when doing my composition degree, I wrote a piece for clarinet and piano, but I worked closely with the clarinetist as she is a friend and amazing at clarinet. To this day, its still one of my favorite pieces I've ever written and had performed. The performance itself felt magical; I really fully connected with that piece more than any before. And watching this video gave me an idea for a piece I've been working on for 2 years because something has been missing and finally I know what was missing and who I need to talk to! Thank you! Love your videos!

[pedrokenzo]

3:50 My First String Quartet by B. Ginner, that's some wit, love these small details

[russkalen]

I'm laughing out loud (not just lol) at your final piece! It sounds a lot like me trying to play those instruments! And I totally agree, there is nothing like trying to play the instrument yourself to gain some familiarity with it's physical properties. I also loved the bass riff with all the weird sounds you got from it.

[AvantangoMedia]

@ 12:50 - use a left hand pizz to (help) get the open string attack