Composing : Living With The Natives by Joel Irwin

Here is something I have been talking about for years and truly believe its importance.  Its about "living with the natives" as the expression goes.  Back in 2003 I started taking music classes (the standard two years of theory and ear training).  Then I started to take classes to learn how to write for orchestra.   There are two things that are very important when writing for an instrument - first learn how to write 'idiomatically' to take advantage of all the instruments nuances and capabilities (such as its various articulations) and secondly to understand what is involved in physically playing the instrument.

The first is important otherwise when we score electronically with samples or synthesizer, the instrument we are playing will sound more like a piano or synthesizer.

The second allows us for (1) to make the instrument sound more realistic  imho and (2) allow an easier transition to a live performance.  So for example, you can make something sound great electronically but clearly above the ability of anyone other than a well accomplished professional player.

So when I first took a class to write a string quartet (strings are usually the first section of the orchestra we learn), I was required to take three semesters of actually learning and playing violin.  The goal was not as much to master the instrument (I clearly never sounded much better than an elementary school player :) ), but to understand what needs to be done to create various sounds and to get a better feel for what is physically entailed.

Next I had to write a woodwind trio.  So I needed to take three semesters of clarinet.  I picked clarinet over flute to get a better understanding of an instrument which uses a single reed as this also gives me an understanding for instruments such as saxophones.

You get the idea....  I always didn't learn to actually play various instruments but took the time to take lessons with a professional player of various instruments such as a harp.

So back in May, I scored a film called, "The Last Command" which premiered on Aug 26 in LA and was nominated for "best score".  As I normally do, I scored the soundtrack with my 'instrument samples' and purchased the Tin Whistle/Penny Whistle instrument set from Ventus.  I got pretty good at taking advantage of the sound and various articulations of the music.   But I yearned for more and decided to get out of my 'comfort zone' again.  So I made a commitment to play the theme of that film at a retreat on Sept. 17th with an actual Penny Whistle (i.e., "live").   I purchased two Penny Whistles.

http://www.ebay.com/itm/Freeman-Whistle-Mellow-Dog-D-C-SET-Tin-Penny-LIS...

I actually also purchased a different brand Penny Whistle as well with an instruction manual but found the above two Freeman ones easier to learn and play.

Then I created another score of just the theme to the film in both the keys of C (which is the key for the film) and D.  As I found the D whistle much easier to play, I muted out the electronic version and printed out a chart/part for it.  I am learning to play the theme at two different octaves.  I am finding that I have to control my blowing at three different intensities depending on the note and that staccato and legato notes require different 'tonging' and realize the importance of leaving space for breathing and understand how long an average player can hold a note at the given tempo for two bars!

Yes - I enjoyed featuring the tin/penny whistle as the main thematic instrument but now I have 'lived with the natives' and have a founder appreciation (at least a little bit...) of playing the actual instrument.

Now the director of that film wants to me to re-score the opening with bagpipes.  Oh MY!!!!!!

(To hear the C version referred to above to understand how I needed to take advantage of the various instrument articulations for the theme - http://www.icompositions.com/music/song.php?sid=222705 )