Compose for Percussion
In partnership with International Percussion Institute
sound is running a digital course on writing for percussion in collaboration with the International Percussion Institute (IPI).
Due to Coronavirus, the annual IPI percussion seminar is not running in 2020 so we will instead host a virtual course on how to write for percussion.
The programme will be led by leading composer Joe Duddell. The course will cover both practical and technical considerations when writing for percussion as well as a chance to develop general compositional experience.
The course is FREE of charge.
- Monday 6 July, 3pm(BST): Composing for percussion workshop on Zoom
- Monday 13 July, 3pm (BST): 30 minute 1:1 session with composer Joe Duddell on Zoom
- Monday 20 July, 3pm (BST): second 30 minute 1:1 session with composer Joe Duddell on Zoom
- Monday 27 July: scores sent to percussion players
- Monday 3 & Tuesday 4 August (times to be arranged): rehearsal with percussionist
- Friday 7 August, 5pm (BST): performance of all pieces
Up to six composers resident in Scotland will be selected for the course. They should be aged 17 to 26 years and at any stage in their career, however, they must be able to articulate how this opportunity would benefit them.
How to apply
To apply for the opportunity please fill in the application form by Monday 15 June 2020.
We will inform you whether you are successful or not by Monday 22 June 2020.
For further information please contact email@example.com.
Please note that sound is committed to working with and supporting composers from under-represented sections of the population.
To enable this, there is a two-stage application process: an initial selection is made, and then this is narrowed down in a second stage selection process.
If you are a female, disabled and/or BAME composer, you can self-select to be put forward automatically to the second round if you want. The selection panel will be made up of the Chair of sound and a member of the staff team.
Notes to composers applying
Selection for new music opportunities is inherently subjective and the criteria used can differ from project to project. We are frequently over-subscribed and often the quality of applications is extremely high from a wide range of composers, which usually means making difficult decisions.
Reasons for selecting one composer over another are not always to do with skill level or experience. We may, for example, be looking for the right fit for us as an organisation at a particular point in time e.g., we may be looking to develop specific strands or activity or genres of music.
For development opportunities that happen in a group setting, it may be that we need to take into consideration the coherence of that group e.g., we may prefer to have composers of a similar experience-level. We thus sometimes end up turning down composers with more experience or skills, or giving opportunities to composers who we feel would benefit most from a particular opportunity at that stage in their career, and faced with difficult choices we may sometimes turn down composers who may have already benefitted from a number of opportunities in the past.
We would however encourage composers to apply for any opportunities that interest them and for which they fit the specification, and not be discouraged if they are not selected for a particular opportunity, as it does not mean that they are not “good” enough. Please do continue to apply for any opportunity that interests you.