Thanks to Bikya Masr, I was introduced to the writing of journalist and commentator Ghassan Rubeiz, whose work has appeared here. In response to one of his articles, I contacted Ghassan and through email exchanges I was delighted to learn that he and his wife live not far from me in upstate New York. They graciously invited me and my family over for a wonderful Lebanese lunch and then, afterwards, they had guests over to the house to listen to some of my music on CD. The setting for my music was idyllic, outdoors on a deck overlooking a pristine lake. Following the playing of my CD, there was much discussion and I was asked a question I frequently receive: “How do you write for orchestra?” So, in keeping with my dual interests for music and peace, I will try to answer that question. There are some important principals when orchestrating: One must respect the individual sound colors of each instrument. Each instrument has its own tone, its own “language,” and should be allowed to express itself in its own language. Moreover, an orchestrator must understand and appreciate the limitations of each instrument and know not to compel an instrument beyond boundaries which it cannot go. Each instrument has its role to play in the orchestra. For example, the basses, bassoons and tuba provide an excellent foundation, the cellos, violas, and trombones offer resonance and texture in the middle, and the violins, clarinets, and flutes often weave the melody on top. There is room for variation, but do not overlook the natural order of things. In writing for orchestra, the sound of a solo instrument can be beautiful and refreshing. But more often, it is best to join several instruments in blended colors. At times instruments, like the horns, will offer support for a solo instrument. Other times, a combination of two or more instruments playing together, like the oboe and flute, can combine to create a beautiful new instrument. For the flute, the oboe adds its poignancy. And for the oboe, the flute adds it silvery softness. Also, like partaking in polite conversation, a melody can be shared and passed from one instrument to another. How often in Mozart music does the flute yield to the oboe, the oboe defers to the clarinet, and finally the clarinet bows to the bassoon? A good orchestrator must also understand the populations and strengths of each orchestral section. Some sections have many players, like the violins. Other sections have few players, like the brass. The orchestra is so comprised because the power of few brass easily balance the sound of so many violins. In orchestration, good balance is essential. Also, those instruments that seem the most powerful, like the trumpets and the drums tend to receive the most rest. They remain silent through much of the music and are reserved for the most exciting passages. Lastly, in orchestration, we call the individual parts to which instruments are assigned “voices.” An accomplished orchestrator knows to respect all the voices and to understand that they are all essential to the overall texture. The best orchestrator, like one carefully weaving a multicolored fabric, is the one who can maintain clarity, balance and good harmony among all the parts. It was my great pleasure meeting Ghassan Rubeiz, his wife Mary, and their assembled guests that Friday afternoon to listen to my orchestral music. As we listened, it was me who deeply appreciated Ghassan and Mary's desire to orchestrate a gathering of people from diverse backgrounds so that the result would be sincerity, sympathy, and friendship. A one-minute montage of my orchestral music can be found on Youtube. BM
