Linda and Kim

"Kim and I go way back to almost the beginning. I'll never forget my first time meeting this gentle giant, and I will certainly never forget the first time I got to hear one of his orchestrations come to life. I will always be amazed by people who can hear 70 parts at once in their heads before anyone has ever played a note. All you have to do is give him an idea of what you want and he comes back with magic."

Linda Eder's voice is unrivaled. A voice as spectacular and majestic as hers requires an equally magnificent complement of musical expression. Her musicians are some of the most talented in the business, but to take her songs to the heights they achieve, the magic of a gifted creative individual often comes into play. That man is none other than orchestrator, arranger, and special friend of THE VOICE, Kim Scharnberg.

We talked with Kim recently about his work with Linda and creating magic in the music industry.

VOICE: Is there a difference between an "arrangement" and an "orchestration" or are they synonymous?

KIM: It used to be one and the same since the person who did the arrangement also usually did the orchestration… the orchestrating part was just assumed. Broadway especially has changed that and as well as some other mediums like records and live shows. The arranger is the person who puts the song into its final form and who might suggest some other musical lines or parts other than the vocal. Sometimes I'll get a very detailed four or five line sketch from an arranger, and sometimes I'll just get a basic lead sheet with their name on it taking credit. As an orchestrator, I'll then write out parts (a score usually) for whatever instruments have been hired to realize the music. I'll often add my own lines or change things, sometimes with approval, sometimes not. If it's a big change like "how about a soft ending instead of a big ending?" I'll definitely run it by the artist and/or the arranger, songwriter and producer.

VOICE: Please tell us about the process of arranging/orchestrating a song and a Broadway show.

KIM: I get hired and I do the work and then sit back and wait to collect royalties and praise… it's easy! Haha! Seriously though… I've mainly been hired to be the orchestrator on Broadway shows (even though arranging is sometimes part of it) so I'll describe that. I'm usually involved very early in the process when songs are just getting written and the music team (the composer, the music director, who is usually the arranger, and sometimes the lyricist) will sit down and talk about the "sound" of the show and sometimes what instruments will be in the pit. Often times we'll do demos of the songs that might have some idea of what the orchestrations will be, but it's usually just to help sell the show to investors and to attract the rest of the creative team. When it's finally ready to go to Broadway or the out of town tryouts before Broadway, the music director writes the arrangements of the songs and starts to give them to me. It gets fast and furious at this point with things coming in sometimes every hour. E-mail has made this all much faster! Sometimes I'm waiting for other decisions to be made… where the choreographer wants hits or where the scene change might be longer or what key the diva wants the song in… [smiles] I then write it for all of the instruments that will be in the pit, trying to get the exact right combination for whatever mood is supposed to be taking place on stage. During previews of a new show, it's all about revisions… see what's working and what needs to be changed and refining my work… that's the best part of theater since I don't get that opportunity in recording. After that it hopefully gets played thousands of times and it gets back to the "sit back and wait" part!

Photo by Sonja Zinke

VOICE: Has the advent and growing prominence of digital /electronic music affected your creative process as an arranger/orchestrator?

KIM: Yes. Sometimes it's lessened the job of what we do and/or flat out replaced it, but I prefer to look at it as glass-half-full. Technological changes have always been a part of theater and of music and it's not going away, so I think it's better to embrace it! Use it for good and not for evil! I think live musicians are a very important part of live theater (I hope most of your readers agree!), so electronics can best be used to enhance them rather than replace them. There are certain sounds that can only be achieved on electronic instruments, so it's not like the oboe player is going to get some cool synthesizer sound by changing reeds! I just hope that producers and patrons alike still appreciate what orchestrators and live musicians can do for a long time into the future!

VOICE: Which instruments are the most difficult/easiest for you in preparing an orchestration?

KIM: Probably the rhythm section … piano, bass, drums and other keyboards because I like to give the players enough creative freedom to add their own things but still enough guidance so I get what I want. Easiest? The trombones!

VOICE: How does the process of creating "dance mixes" out of Linda's songs work? Who chooses what songs to turn into dance mixes? Does Linda give direction on them? Have you worked on any?

KIM: This is almost completely out of the realm of what I do… but I can find out who is great at it! Linda's current coproducer, Billy Stein, is a genius on all of this so he'd be a good one to ask!

VOICE: We definitely will speak to Billy about it soon. Do you have any insight into the dance mix of "Something To Believe In" which is included on the Greatest Hits CD?

KIM: I thought it sounded pretty cool and it brought a bigger audience to what Linda does… so… no!

VOICE: More questions for a future interview with Billy! Did you formally study music arranging or did it just come naturally as a musician?

KIM: Yes, even though I was a trombone major (with extra training as Santa Claus of course). I took all of the arranging courses at the Eastman School of Music. I studied with Rayburn Wright and Manny Albam and it was a priceless education!

VOICE: Can you tell us a little about the knowledge you gained from these two men that has helped you in your career?

KIM: From Manny, it was about the way he would write charts… every single part would make sense and be interesting to play even if you're the 3rd or 4th player in a section. His own charts were brilliant! From Ray, it was about the process and the business… how to be a professional, run sessions, be on time, a lot of the basics. I still hear his voice in my head every time I write an arrangement guiding me in what I should or shouldn't be doing.

VOICE: From where do you draw your inspiration as a creative individual?

KIM: Lots of different places… music is an amazing thing and sometimes it can just inspire itself — one note leads to another and then another! Plus I think it's important to put myself in touch with whatever emotion the song is trying to express, so if it's an up-tempo, happy song… more coffee and let's go! But if it's a darker, more brooding or even sad song I have to be willing to go there too. To me, passion is the whole deal and I have to try and put that into every single thing I write!

VOICE: Do you find it more difficult to approach a darker, more brooding, or sad song than those that are more uplifting? Are the up-tempo, happy songs more to your liking since those are more your own personality?

KIM: Ha! Maybe I fool people but the darker, brooding things are usually much easier for me! Maybe it's just because they're usually slower, meaning they're shorter too! Plus I can do all those weird things I like to try in those slower songs.

VOICE: Do you prefer to arrange original songs or make "old songs new?" Is one more challenging than the other?

KIM: I like both since they're different challenges. With a new song, I'm able to put my own spin on what it is, which is always fun and not very restrictive. With an older song, especially a well known one like "Impossible Dream" or "The Man That Got Away" or something like those, I feel the need to say something new… express a different point of view if possible. Maybe it's just reharmonizing it or finding a unique way to look at the lyrics, but there's always a sense of history looking over my shoulder too!

VOICE: On new songs, do you get much input from composers or lyricists before you begin your creative work?

KIM: Each situation is unique… sometimes lots, sometimes too much, sometimes not much and sometimes not enough! It's the same way with the songs I'm given… sometimes they are very specific and all the inside lines are there or implied versus other songs when the chords aren't even there and the melody isn't completely set. Usually the lyrics will guide me and really good lyrics like Jack Murphy's are inspiring!!! (Jack — I'll take the usual 10% for that compliment — check or cash please)

VOICE: What is the most complicated arrangement you ever worked on? The most fun?

KIM: The hardest ones are always the simplest ones! Back when I'd write with pencil there was always a lot of eraser shrapnel on the desk from the "easy" charts… there are fewer notes or choices to make so each one has to be absolutely perfect. I guess for me it's all part of the craft so each song has its own challenges and hopefully, in the end, they're all fun! I have to say that hearing Linda sing pretty much anything for the first time with a band or orchestra is always a thrill and makes any sweat or short nights totally worth it!

VOICE: Can you be specific and name one that was the most complicated and one that was the most fun?

KIM: Hold on and let me go look at my CDs to answer this… I'll stick to Linda songs.
Hardest: "I Am What I Am." Most fun: "Here Comes Santa Claus/Santa Claus Is Comin' To Town!"

VOICE: Awesome! We love those arrangements! What is your favorite song on Linda's Greatest Hits CD of the songs you worked on?

KIM: Wow, hard question! I like so many of the things that I worked on for different reasons, but I'd probably have to say "Vienna" since we did that on her very first album and then rerecorded it later. I've always loved that song and think it's a great example of blending pop and symphonic. Too bad she can't sing it and that none of her fans like it… [winks] Oh, well!

VOICE: It's been wonderful chatting with you. Now to uphold our "Voice tradition," can you tell us about your current projects?

KIM: I've been commissioned to write several original compositions lately… three for smaller chamber groups and one for symphony orchestra which is very creative and fun for me! A big project right in front of me is a rock version of Handel's MESSIAH that is being filmed for a PBS special with the Boston Pops in September! It headlines Jon Anderson (from Yes), Belinda Carlisle (the GoGos), Adam Pascal (RENT, etc.) and a soon-to-be-named female singer. Jason Howland and his wife, Dani, are the main creative forces behind this along with Billy Stein… all Linda colleagues! I'm coproducing… which means I'm sharing in some of the creativity of the work, and also adding my ears during rehearsals and when we're mixing the material. I get to share my point of view as the "orchestra guy." I'm also orchestrating and arranging the project so look for it on TV this holiday season and then a full tour a year from this November!

We would love to hear from you! Please write to THE VOICE at lethevoice@comcast.net
or feel free to share your comments in THE VOICE section of the Linda Eder Message Board.