Advice for writing a concerto for an instrument that you are not accustomed to.

I am trying to write a cello concerto but I do not know how to play the cello

Hi @Mango ,

Welcome to the forum!

Why don't you write a concerto for an instrument you are familiar with? Writing a concerto requires a more thorough understanding of the solo instrument to allow an idiomatic and virtuosic display of the instrument. Maybe you can start with a cello sonata first? That would really help you know more about the instrument before using it in a more virtuosic setting with an orchestral background.

Henry

Hello @Mango ! Welcome!

I think if you really want to just try the genre you can write a basic beginner's concerto based on some specific technique that you know beginner cellists learn. Look at some scores of existing cello pieces or concerti or watch YouTube demonstrations of cello techniques and use those techniques to build a basic melodic motif that you'll use in your concerto. That's how I would approach it! Great question!

Welcome to forum,

what instrument(s) have you been playing?

Hello

I’ll share my experiences as an amateur ‘composer’, though I do have extensive training (both self-taught and formal) in harmony, counterpoint, fugue, etc... and I’m currently working on orchestration.

At first glance, it might seem that a concerto for a solo instrument and orchestra is easier than writing for an orchestra on its own. Because you think: “Ah, as there’s a soloist, it’s easy for them to take the lead and develop everything, etc.” But I believe the opposite is true. With a solo instrument and orchestra, the compositional difficulty multiplies, unless you want to limit yourself to a soloist and a few instruments playing chords.

I think a good progression for composing is:

1) Write for piano. Even if it isn’t your main instrument, get hold of a MIDI piano, study how the classical composers wrote, and keep practising until your piano writing sounds natural (like proper piano music, not just a series of chord blocks). I see it this way because the piano is polyphonic and allows you to sketch out anything.

2) Write for small ensembles: string orchestra, small early classical-style orchestra.

3) Expand your palette by thoughtfully enlarging the orchestra. More instruments doesn’t necessarily make it better.

4) I always study the orchestration. Know about each instrument, its origin (which explains a lot about why an instrument is the way it is), what dynamics, ranges and articulations are possible, and at a ‘normal’ orchestral level. It makes no sense to write extremely difficult parts for orchestral sections.

5) And finally. Add a solo instrument. You can write short pieces. That’s what I’ve done so far with soloists. You need to understand very, very well how an instrument works to develop it as a solo part. Even Brahms consulted the violinist J. Joachim on his violin concerto.