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 Get the job and then figure how to write it later. There is nothing like trial by fire or a deadline. How else can you get arranging experience unless you get some gigs doing just that? If the producer/director ask's you if you've ever written for non-kotekan, off the beat Nyangsih, Balinese Gamelan, your response should be "with or without bronze metallophnes?" If you're like most of the arrangers I know, getting the job is first and foremost. Once you've got the job, a crash coarse in the style will follow. Immerse yourself in the idiom and analyze the principal devices in that idiom. Unless its as exotic as the aforementioned style, you've probably heard some of these works and can quickly assimilate what needs to be done. Face it, most of the music we work with has its cliches and standard devices and is easily copied. |
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