In this unit we are going to briefly consider issues associated with creating a themed programme through collaborating with others. As we explore in the Create/Curate pathway, doing things with others is often highly enjoyable and better than doing things on your own!

A pop group may have a really strong musical identity, writing and performing its own material, and may well visualise a gig, the changing energy levels, the order of numbers, or by planning out the journey the audience may take when listening to its album. It’s fascinating to see how different artists have developed and expanded their musical ideas over many years with their respective groups: John Helliwell with Supertramp & Creme Anglais; Will Gregory with Goldfrapp & his Moog Ensemble.

A couple of years ago, a friend called Andy and asked if he’d like to watch and listen to a gig that he was part of at Symphony Hall, Birmingham. It was a Christmas gig/tour with Kate Rusby & Band. She had added in a brass quintet for these dates. It was a whole new musical world for my euphonium-playing friend….. and he loved it!

With the Apollo Saxophone Quartet (ASQ), Andy found that after a few years of gigging that they were going back to some great venues and countries, in addition to playing at other venues for the first time. They needed different programmes to suit these varied occasions. These new programmes often involved the ASQ collaborating with others. They worked in collaboration with artists such as the pianist Joanna MacGregor, poet Lemn Sissay, black and white films, and more recently the Artvark Saxophone Quartet.

Collaborating can result in some spectacular musical results and can also be a minefield! Take your time in the opening discussions, don’t rush into a project and make sure that each party in the project can maintain their musical identity whilst also being musically flexible enough to truly collaborate. The extent of the collaboration can also vary. What percentage of your gig is devoted to the collaboration – all of it or part of it? Is a musical collaborator your guest, or are your theirs, or are you equal?

More and more promoters seem to like themed programmes and collaborations. It helps them sell tickets, it all makes sense from their perspective! However, it is important that the theme of the programme is not allowed to dominate or compromise the music in any way. The Kronos String Quartet has been brilliant at this over many decades.

Within the Interface:Response programme we have mentors available to help you with any aspects of your work. Mentoring support is free of charge within the UK. Further information about our mentors can be found in the Interface:Response forum, or contact us for further details.

Related resources

Five examples of ‘Do It With Others’ – case studies from the world of music online.

Group S – creating a band, in this case Group S, writing for specific musicians, programming for an album

A collaboration instigated by Lancashire Sinfonietta – Nicholas Kok & I were commissioned to write a programme of music, strings, rhythm section and sax. The programme included a Concerto for Improvising Musician, called ‘The 7th Degree’ by Nicholas.

Stavanger Brass Band in Norway – in regular consultation with the conductor/artistic director I wrote a 23-minute programme for the Siddis Competition. All the bands that enter the Siddis competition create themed programmes. Quite often pieces are linked to create the sense of journey throughout a performance. The brainchild of Allan Withington, this collaboration saw me going to Norway to rehearse with the band, and attend the world premiere.