A Quote by Gail Zappa
When you have a single composer writing his work, it shouldn't be doled out in singles based on the length of a piece.
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I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.
When I was 20, Shostakovich was my favorite composer. I still find his Fifth Symphony wonderful, with its outstanding themes and rhythms. That's the piece that made me want to be a classical composer.
When I write music for a film, I'm not writing a solo album, and I'm not writing a personal piece. I'm part of a team of artists. So I think like a filmmaker more than a composer.
The writer learns to write, in the last resort, only by writing. He must get words onto paper even if he is dissatisfied with them. A young writer must cross many psychological barriers to acquire confidence in his capacity to produce good work-especially his first full-length book-and he cannot do this by staring at a piece of blank paper, searching for the perfect sentence.
When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
When we work on a piece of music, we'll often read the biographies of the composer and learn about what was going on historically and artistically. But I believe that the connection to a piece of music is something much more personal and mysterious than all of these bits of information.
Writing a story, regardless of length, begins always with a single word.
I'm releasing a single. It's called 'Live it Up.' It was based on my Euro trip. I only write my own music. I don't let other people write it at all. So I've been working on that a lot. There's three singles coming out. The producer of The Fray who did their double-platinum album 'How to Save a Life,' I'm working with him. He's producing me.
There is no ideal length, but you develop a little interior gauge that tells you whether or not you're supporting the house or detracting from it. When a piece gets too long, the tension goes out of it. That word?tension?has an animal insistence for me. A piece of writing rises and falls with tension. The writer holds one end of the rope and the reader holds the other end?is the rope slack, or is it tight? Does it matter to the reader what the next sentence is going to be?
I would say that all the singles that I have put out are collectively just a small piece of the artist that Thomas Rhett wants to be.
In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.
Around eighth grade I decided I wanted to be a composer and that's what I went to college for. Just a few years back, I switched out of composition and into creative writing so I could work with words.
If I do a play, it's my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it's usually the director.
At the end of the day, I am singing the composer's creation, and I follow the instructions given to me. What I feel may be a right take may not work for the composer or his vision on how he thinks the song should sound.
The last great unknown, in terms of physiological training, is the optimum length of a piece. Is three minutes enough? Is ten minutes too much? No one knows. Perhaps someday the question will be answered-we'll find out that thirteen minutes is the perfect length for a training piece when preparing for a 2000 meter race. Until then, coaches will continue exploring the whole scale, up and down, from thirty seconds to sixty minutes and more, in hopes of capturing the optimum time.
A young pianist & composer who has demonstrated an exceptional creativity, in both his playing & his writing, as well as showing us all, his very strong commitment & motivation to aim for high musical goals. Talent like his is rare.
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