AboutSteven L. Rosenhaus Expertise Areas of interest: Classical composition, writing musical theater (including music, lyrics, libretti), songwriting (pop, rock, blues, folk, etc.); music theory; orchestration; arranging. Also: music publishing and related topics.
Experience Composer/arranger with over 100 original works and arrangements in currently in print; publishers include E.F. Kalmus, Masters Music, Music-Print Productions, Theodore Presser, etc. Works have been performed throughout the U.S. and Europe by the United States Navy Band, the U.S. Naval Academy Band, violinist Florian Meyer, the Dresden Sinfonietta conducted by Milko Kersten, pianist Laura Leon, the Meridian String Quartet, the New Hudson Saxophone Quartet, clarinetist Guido Arbonelli, etc. Off-Broadway musical "Critic" (1988) ran 41 performances to good reviews. Co-author, with Allen Cohen, "Writing Musical Theater" (Palgrave Macmillan, 2006). Also performing singer/songwriter: was in the Don't Quit Your Day Job Players, 1997-2000 (CD:"Blues Spoken Here" available at CDBaby); solo performer since 2000 (CD:"A Man Like Me" available at CDBaby, iTunes, etc.). Classical works and songs recorded on the Capstone, Richarson, Music for a G'Day, and MPP labels; available through CDBaby and/or iTunes, Rhapsody, etc.
Adjunct Assistant Professor of Composition at New York University; have taught composition and other subjects at NYU since 1992, including "Introduction to Music Publishing and Printing" (which I created for NYU's Music Business program). Also Adjunct Assistant Professor at Nassau Community College, teaching songwriting, folk music, history of rock, and other subjects. Currently creating a series of performance etudes for the U.S. Navy School of Music, coordinating them with the School's music theory, ear training, and performance instruction programs.
Organizations ASCAP, MENC, NARAS, Music Theory Society, College Music Society, plus several others in music education, composition, and theory.
Publications "Writing Musical Theater" by Allen Cohen and Steven L. Rosenhaus (Palgrave Macmillan, 2006). Article in Strings Magazine, May 2007, on my string quartet "Strange Loops."
Education/Credentials Ph.D.- New York University
M.A. - Queens College (CUNY)
B.A. - Queens College (CUNY)
Expert: Steven L. Rosenhaus Date: 6/29/2008 Subject: Piano Music Composition
Question I don't play the piano, nor do I know anything really about how to compile music, but I love George Winston and the like. I want to know how to create a basic piano song set by step. In my research I have read articles that have said things like, "1. sit at piano, 2. start playing around...." that's ridiculous, and I can't get anywhere with that kind of advice. I'm a computer programmer, and I need step by step instructions like, "1. Choose a chord progression (this is... and you can find more information here...) 2. choose a melody (heres how you make one...) ..." if you could please give me detailed instructions on every step you'd be a life saver!
Answer Dear Jordan,
As a computer programmer, I'm sure you are familiar with the acronym "R.T.F.M."--"Read the ****in' manual." Well, the question you asked requires the same sort of answer.
In this case the "manual" is information that I'll break down as follows:
1. The instrument. In your case, the piano. What's the range? How is it played? What can it do (including, what "tricks" can it do)? Orchestration books will help, although I admit that few really cover the piano in great detail. (I think Samuel Adler's book does cover it, but I don't have at hand to check.)
2. Vocabulary. By this I mean harmonic language (tonal, extended tonality, atonality, etc.), form (ABA, da capo or song form, rondo, sonata allegro, minuet and trio or scherzo and trio, and so on), texture (melody and accompaniment like songs, contrapuntal writing like fugues, single lines in each hand or fistfuls of chords in both hands or mixtures of those), style (incorporating the other factors above as well as rhythm, meter, and so on). It will help considerably to look at music from an analytical standpoint to learn how music works. Listen, really =listen= to what Winston is doing in his music terms of things like structure or texture. What sorts of things does he do with the melody? What chord progressions does he use? For that matter, what chords are used in any piece of music? Do you know, for example, the chord structure for a traditional 12-bar blues? You can look this up. There are plenty of music theory books available that can help you learn all of the things you ask about (writing melodies, harmonizing, etc.), and just about all of them are good enough to get you started.
3. Your player. Whom do you expect to play the music you write? Beginners? Advanced players? Amateurs? Professionals? Looking at music intended for the various types of player will help.
4. Hands on experience. The piano is a unique case when it comes to composing. I write music for all sorts of instruments I don't play all the time (including the Baroque lute!). In most instances I will gather as much information (as above) as I can, =plus= I will work with a player of that instrument to learn the details and idiosyncrasies of the instrument (or the player!). But even thought I am =not= a pianist (I only half-kid when I say that I play just enough to be dangerous), I find that nothing beats sitting down at the piano and pounding my way through the piece as I write. I've gotten quite adept over the years at writing idiomatically for the piano, even when I write things that I myself will never be able to play, and mostly because I take the time to get the physical sensation of playing the piece--no matter how slowly or badly--"into my fingers." I strongly, =strongly= urge you to do the same.
You shouldn't compose in a vacuum, as the things you quoted might lead you to believe. Get to know the instrument, get to know how music itself works--either formally in terms of music theory, etc., or simply by listening carefully to other music--and figure out what you want to accomplish in your music.
It's hard to find you way in a dark room if you don't know where the walls are. RTFM, Jordan. I hope this helps.
