Question for the Composers

[Teasing the Korean]

I have a question for anyone here who writes instrumental melody-based compositions:

To what degree do you consider the "singability" of the melody - even if it is an instrumental - in terms of phrase lengths, places to breathe, interval jumps, range of he melody, etc.?  

I write a variety of instrumental things, but whenever I write something that is primarily melody-based, I find myself thinking of the ability to sing it, for better or worse.  I don't  know if this is positive, in that it forces me to be economical or to think on a level that taps into something more primal, or if it is a needless limitation that I impose on myself.  

Just curious to know if anyone has thoughts on this topic.  

Edited January 12, 2016 by Teasing

[JSngry]

That's a complicated group questions you ask...Do you sing back everything that you write? Or try to? If/when you can't, do you blame your singing skills or what you've written? Have you've ever written anything you knew was asymmetrical or otherwise not "singer-friendly" and been able to vocalize it to the point where you knew it was right anyway?

I'm trying to think of an answer from my own experience, and all I can come up with is that the better I can hear an idea, the better I can sing it, and that hearing it comes first. Even if it's hearing it more as shape and durations, then figuring out how to get the notes in, if I can hear it strongly enough, eventually I can sing it. So I go with that, because if I went by initial self-singability, geez, that would be SO not pleasurable.

[Teasing the Korean]

1 hour ago, JSngry said:

That's a complicated group questions you ask...Do you sing back everything that you write? Or try to? If/when you can't, do you blame your singing skills or what you've written? Have you've ever written anything you knew was asymmetrical or otherwise not "singer-friendly" and been able to vocalize it to the point where you knew it was right anyway?

I'm trying to think of an answer from my own experience, and all I can come up with is that the better I can hear an idea, the better I can sing it, and that hearing it comes first. Even if it's hearing it more as shape and durations, then figuring out how to get the notes in, if I can hear it strongly enough, eventually I can sing it. So I go with that, because if I went by initial self-singability, geez, that would be SO not pleasurable.

Thanks for the reply.    As I said, I write a variety of things, some of which are not melody-based at all (though they contain melodies) and these may go into directions more along the lines of what you are describing. 

I am talking about things that seem to naturally evolve into something more resembling a traditional "song," though without lyrics. I do not try to physically sing these things back, but as someone who once very serious about voice, I think I may be subconsciously pre-disposed to thinking along the lines of vocal phrases.  I suppose I may also be thinking about phrases that a listener can grab onto.  I have always had strong simultaneously leanings toward things that are challenging and things that are catchy.  

I don't know if I have partially answered your questions or just created more of them. 

Edited January 13, 2016 by Teasing

[fasstrack]

On ‎1‎/‎12‎/‎2016 at 11:24 PM, Teasing said:

I have a question for anyone here who writes instrumental melody-based compositions:

To what degree do you consider the "singability" of the melody - even if it is an instrumental - in terms of phrase lengths, places to breathe, interval jumps, range of he melody, etc.?  

I write a variety of instrumental things, but whenever I write something that is primarily melody-based, I find myself thinking of the ability to sing it, for better or worse.  I don't  know if this is positive, in that it forces me to be economical or to think on a level that taps into something more primal, or if it is a needless limitation that I impose on myself.  

Just curious to know if anyone has thoughts on this topic.  

I wrote for years purely for instruments, before I actually became a 'songwriter' (e.g. writing lyrics to my melodies). Looking back, almost my whole instrumental catalogue, except for one wild piece for instruments and narrator, is singable. It has to do with being around Broadway, theater, and GASB music that was around my house from early childhood. As a consequence, everything I've written in a jazz or even pop idiom is singable and lyric-ready.

So, yes, to a large degree. I'd like to challenge myself and write some non-melodic stuff at some point in the interest of growth. Even the great Sondheim studied with serialist Milton Babbit.