Beyond Notation

Roger Aldridge

Roger Aldridge

Composer in Residence
Distinguished Member
Here's an article that I wrote recently and thought I'd share it here. The pieces that I mention can be heard -- except for Smaller Ups & Downs (hasn't been recorded yet) -- on my website. As an example of one of my pieces that is highly improv-based, here's a link to New Tango No. 1: http://www.rogeraldridge.com/new-tango-no-1.html

"Whenever people ask me to describe my music I often include the words fun and adventure. These qualities are expressed in how I encourage performers of my music to think of it as being a point of departure, to discover their vision of the music, to experiment with it, and find ways for the music to be a fresh, fun, and adventurous experience each time it is performed.

For that to happen, I usually do not compose music that is completely notated. The amount of music that I notate is on a sliding scale. At one end of the scale are extended pieces like Donut Music and Buzzards In Love that use improvisation in various ways within a highly-notated work. At the opposite end of the scale are minimalist pieces like New Tango No. 1 and Smaller Ups And Downs that have a small amount of notated music and use a particular concept for an improvisational framework. These pieces are dependent upon the performers to bring the music to life.

I understand how music can have different expressive interpretations given to it by conductors and performers. However, I want to go beyond that to embrace a spirit of "Let's see where we can go with this". That is, for performances of my music to be a journey of discovery -- a collective creative process between the composer, performers, and director (if one is used) -- in which the music becomes alive, spontaneous, and with each performance it continues to evolve. I think of this creative process as being like a jazz solo.

I enjoy being surprised when performers take the music in directions that I had not thought of. There is an element of risk with this approach; however, that is part of the fun and adventure."
 
Thanks for asking these questions! I don't want to have any limitation to anyone using my music. Here's how I think about it....

I write in many different ways with regard to styles and compositional process. That should be clear as one explores the selection of music on my website. Given this wide range, it's been my hope that people (listeners, musicians, and ensembles) finding their way to my music can find SOMETHING that they like. I'm not expecting people to necessarily like all of it. But, if each person can find at least one piece that they like that's good enough for me. :)

I have lots of originals that high school or community-level jazz groups can play. As you might remember, my piece Salt Marsh Rag (for 5 wind instruments and jazz rhythm section) was added to the Composers & Schools in Concert score library of new music last year. They asked for this piece. It can be performed easily by grades 9-12 students as well as by community ensembles. They can play it as it's written or they can open it up in creative ways. It's flexible in that respect.

As I described in my article about notation, ways that I notate are on a sliding scale, some pieces are highly-notated (that is, conventional notation) while others have minimal notation and are highly improv-based. That said, a common thread that runs through my work -- really, an essential concept that I have of music -- is I like for performers of my music to go beyond what is written on paper to find THEIR vision of the music and to explore different ways of performing it. This does not have to be beyond the scope of high school or community ensembles. However, I'm perfectly happy if they prefer to play it as written.

It's my hope that ensembles interested in my work will find pieces that are a good match for their music level and vision. It's not difficult for that to happen. I welcome musicians & ensembles to contact me and discuss my work. I'm happy to talk with anyone to determine what pieces can be a good match for them.

Does that help?

PS, A couple more thoughts..... As I envision freedom in my music, it does not have to mean being far-out sounding or scaring away audiences. To my ears, the recording that Jason Shapiro & the guys made of my New Tango No. 1 is easy to listen to and enjoy. Yet, the lead sheet has minimal notation and the music has a considerable amount of freedom. For me, freedom is not about playing honks & screeches. Rather, it's about being able to try different things with the music. As more ensembles discover and perform New Tango No. 1 (as an example) I look forward to hearing what they do with it....where they take the music. For me, this journey of discovery with a piece of music is REALLY exciting.

Thanks, Roger
 
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Yes, think of me as a musical short order cook. ha ha
 
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