Interview with Kevin Costley, Part 2

Here is part 2 of the interview with Kevin Costley.  Take a moment to read Part 1 if you missed it.

Kevin’s first experiences as a composer:
6. How did you practice the art of composing when you were first learning? What kind of exercises did you do to practice writing forms that were not only theoretically sound but pleasing to the ear? Did you use method books? If so, what do you use? If you did, how did you branch off from there? If you didn’t, what approach did you use?

These questions are very interesting.  My first goal was to learn how to dictate melodies quickly on staff paper.  Therefore, I did much practice writing nursery songs such as “Mary Had a Little Lamb.”  I knew that it was vital to learn to write my original ideas quickly.  Therefore, I practiced a lot of dictation, something that young budding composers often refuse to do (even after I advise them to do so).  The next step for me was in writing down the original melody I heard in my head and could play on the piano for the entire piece (ABA).  I would then try to write accompanying harmonizing notes in both the right hand and left hand that sounded pleasing to me.  I thought if they sounded pleasing to me, they might sound pleasing to other people.  My advantage has always been being an ear player in the first place.  I was playing piano at church when I was 10 years old.  I learned to play by ear before learning to read music.  Therefore, my hands still often just simply fall on notes (sound combinations) that sound good.  In other words, I don’t have to hunt for ‘pleasing sounds.’  When pedagogically challenged (such as the transition to the B movement then back to the A movement), I often look at other models in music (method books and other predominately successful writers in the field for ideas).  Looking at quality models in writing is essential to developing sound writing skills!  Even the most experienced and successful writer should play through other composers’ published works.

7. On average, how long does it take you to write a piece?  Can you estimate how often you revise a piece?

This is all according to the level of a piece.  I usually can write an intermediate piece much more quickly than a late elementary piece.  Many composers say that writing elementary pieces  are  the hardest to write!  When it comes to intermediate pieces, my first notation of a piece usually takes me one and a half to two hours at the maximum.  Then I engrave the piece on Finale, which usually takes 30 to 45 minutes).  Then I do several modifications to the Finale draft.  I prefer to write articulations on the music by hand and my publishers are agreeable with this process.  I always lay the piece out on a big table and see it in “WHOLE” before adding dynamics, articulations markings, pedaling, etc.  Quite to the contrary of what a lot of people may think, a late elementary piece can take much longer to write, due to the many limitations in the leveling!

Composition Theory:
8. Do you think about AB or ABA when you compose or does the song just come as is?  How much of your composing is thinking through theory and intentional effort before the inspiration comes and/or how much is song comes without any thought to that and then revise after have a melody?  In college we learn all about the “rules” of smooth voice-leading. When you compose, are you always thinking about this, or does it come naturally after awhile?

I never sit down and purposely write an AB piece or an ABA piece, yet this might be a good idea to pursue. Basically, I notate what I am thinking and/or playing on the piano.  Although most of my pieces are ABA, it is interesting to take a look at “A Visit With Chopin” in one of my Romantic Portrait collections.  It is not ABA at all.  I wrote the piece to a certain point and then I wrapped up the piece very quickly with a riveting ending!  I even surprised myself with this idea and said to myself, “Where in the world did you get this idea!”  I was very pleased with the idea (it wasn’t ABA).  I’ve never quite duplicated this idea on any other piece since the writing of that piece.  A lot of my writing and voicing comes  naturally.  I was writing piano pieces with correct voicing and “smooth voice leading” quite naturally before I took  a graduate class in voicing.  The professor told me I did this naturally, yet it was important that I now know what I was doing, so I could teach this type of voicing to other new composers.  My main rules in voicing are to watch out for doubled notes that sound very hollow and empty.  Also, I’m startled when I hear a lot of doubled notes in piano music today and some editors  don’t catch these flaws.  Eventually, with practice in writing, the rules of writing won’t dictate your writing; much of it will be come natural to you.

Kevin’s problem solving strategies:
9. What do you do when you get stuck?

I’m human. I SCREAM LOUDLY!  Sometimes I do, yet I usually approach areas where I get stuck as a big challenge to overcome.   I am never comfortable being stuck, yet these challenges are good for me.  I usually try for a few minutes to get over the hump; after about 45 minutes, if I have no solution, I come back later in the day or the next day.   Once it took about three days to come up with a solution after getting stuck!. 

Kevin’s advice to composers:
10. To be a good composer how often do you have to practice and what are good compositions to play?
Practicing the piano (as a composer) is a rather personal decision.  I know I don’t practice enough.  Also some composers are not good pianists or good performers at all.  Yet, the best composers have had or have much experience teaching students.  They must be in touch with what they can play.  They must be experts at good fingering and multiple details in music.   They must be good editors of music.  They should continually play through literature, either literature in the composer’s library and/or new literature  (new releases from the leading piano publishing companies), staying abreast of the new trends in composition.  Composers must lead the field, not just follow the field!

Do any of Kevin’s answers surprise you?  Which of his responses were most helpful to you?