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Guidelines for composing
Instrumentation and choice of ensemble
Choice of ensemble will vary widely depending on the availability of performers and/or technology. Generally it is more practical to work with smaller ensembles e.g. solo up to 3, 4 or 5 players because of the logistics of rehearsals, player availability, technical ability of performers, the organisation of parts and recording issues. Pre-existing ensembles such as string quartets, jazz bands or other school bands may also be considered. Larger groups such as orchestras, choirs and wind bands may be considered but can sometimes be problematic due to additional considerations such as conductor, venue for rehearsing and recording and the greater chance of some players not being available, not to mention the problem of what do you do compositionally with the larger numbers of players apart from merely doubling parts!
Another consideration is the type of ensemble. The instrumentation should reflect the range of instrumental colours or registers desired. An ensemble such as a string trio/quartet, saxophone quartet, brass quartet will provide a more homogenous sound. Mixed ensembles can provide a wide diversity of colour and register. These may include flute, cello and percussion; flute, clarinet, violin, cello and percussion; voice, guitar and saxophones and percussion; 2 pianos; piano, trombone, percussion and double bass; flute/clarinet, cello and piano- there are many possibilities.
The choice of ensemble will also largely be a function of the underlying compositional idea eg. highly rhythmic and percussive; more atmospheric and meditative; the lyrical exploration of motivic material; brass fanfare; intricate interlocking of rhythmic layers to create an evolving texture- to mention just a few.
When working with an ensemble, consider the way ideas are used in the group. Does the material get passed around among the performers using imitation, echo, call/ response techniques? Are there solo, duo passages to contrast the tutti (whole group) passages. Is there too much of the whole group playing bar after bar with no change in ensemble contrast? Are instrumental combinations being explored creatively in terms of their registers and timbral qualities?
Also when live performers are not available, computer generated/midi sounds can be used either as substitutes or mixed in with live performers. These should be notated in the score as for live performers. Experimental electronics can be submitted as can the electronic manipulation of live performers. In both cases there needs to be a score from which it is possible to replicate the work. Detailed technical instructions should be included showing the process involved, requirements regarding equipment, midi/computer programs, speakers, microphones, amplification or technical assistants, as well as a graphic or other representation of what is occurring at each point in time (notated in seconds).
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