Though he is a clarinetist by training, Doug Spata's experience as an orchestra teacher has led him to compose primarily for strings. His unique style has made his works favorites among teachers, students and audiences and his award-winning music has been performed around the U.S. and the world. Besides music for student musicians, Mr. Spata has composed an opera, ballet scores, symphonies and many other orchestra and chamber works for ensembles of all sizes.

Doug Spata was born in St. Louis, Missouri in 1975 but spent a short span of his childhood in Kandy, Sri Lanka - an experience that sparked the lifelong interest in world cultures that informs much of his music.  Mr. Spata's other interests include, art, movies, and history, all of which have influenced his compositions. He currently lives in Ohio.

The driving rhythm, melody in all parts and ability to help students learn to use music to tell a story are many of the reasons I have found [Gargoyles] to be part of our standard repertoire.
— Megan Zalokar, Orchestra Teacher, Aurora, IL


Here are just a few of the many recent performances of Doug Spata's music:

Hearing your song made me more excited to be independent and strong... It was like finding another part of me I never knew existed.
— 7th Grade violinist


Do you have a question for Doug Spata? He loves hearing from students, teachers and audiences!



Doug Spata is available to create new music for your orchestra! Use the email link to inquire about rates and terms. 


Looking for a guest conductor for your upcoming district event? Want to give your students the composer's insight at your rehearsal? Email Doug Spata today for details!

How do you pronounce your name? 
It's pronounced "SPAY-tuh." It rhymes with "beta."

What was the first instrument you learned? 
I started on clarinet it’s still my best instrument.  I also play a little piano, which helps me out  a little when writing music.  In college, I gained  proficiency (or at least a functional understanding) on all the instruments. I have a hard time with the brass instruments, so they’re my weakest.  As for the strings, my hands are a little  too big to be good at violin, but they're just right for viola and 'cello.  I own a viola and, though  I don’t play at a concert-level, I’ll often pick it up to figure out bowings and fingerings as I write.   I also play some guitar and bass guitar.   
I'll sometimes improvise on an instrument until I come up with something interesting, then write it out in Finale and let it develop from there.  I wrote “Sea Chantey” that way on my mandolin and the bass part for “Goblin Dance” on bass.
Who/what inspires your music? 
I enjoy learning about history and other cultures, so they influence my music a lot.  Visual art, movies, and TV shows inspire me.  People have said that my music sounds like movie soundtracks or video game music, which I take as an enormous compliment. I enjoy traveling and some of my trips have led directly to music such as “Ciao, Italia,” “Flambeaux,” and “Zydeco Two-Step.”  I try to keep myself open to inspiration and not limit  my sources of creativity.
Mostly, though, it's the students who play my music that inspire me. I always try to put myself  in their shoes and write something that I would enjoy playing. I also like to think about the  teacher' perspective and fill in the gaps in the orchestral catalog and write the music that isn’t  available to string students, such as Indian style music (“Maharaja”) odd-metered music  (“Agincourt”) or Viola section features (such as “Goblin Dance”).
What story does Gauntlet tell?
Students have told me that they hear everything from battling knights to space battles in  “Gauntlet” and it’s become their soundtrack to Harry Potter, Lord of the Rings,  The Hunger  Games, Game of Thrones and more. People often ask what the story is behind “Gauntlet” and I really didn’t have one in mind, beyond abstract emotion, color, and movement. While a lot of my music conveys a certain mood or evokes a certain place or culture, none of my pieces are programmatic.  That is, they don’t tell specific stories.  I think it’s great that “Gauntlet” inspires peoples’ imaginations —one of the hallmarks of successful art is that it invites a variety of interpretations —and I encourage everyone to come up with their own “Gauntlet” stories.
What is your best/favorite/most memorable publication)? 
“Gauntlet” was my first published work and remains my most popular, so I'll always be grateful for that. People tell me that I should write more pieces like “Gauntlet,” but I’m not sure how I bottled lightning with that one – it’s the product of a very specific state of mind I was in for two weeks in 1997 when I was listening to equal parts of Shostakovich and Metallica.  More of my fast-tempo minor-key pieces have been published since, but  “Gauntlet” remains a favorite.
I’m always trying to improve my skill as a composer and, looking back, I can see that I’ve  improved a lot since “Gauntlet.” “Star of Valor” and "City of Steel" are good showcases for my compositional skill - they're filled with lots of technical detail.
I'm also thrilled that Alfred has published a Bollywood-style piece I wrote called “Maharaja.” My parents lived in India and my family spent a few of my early years in Sri Lanka, so I grew up around a lot of Southeast Asian culture, so Indian music reminds me of my childhood. I'm thrilled that I can share that with orchestra students.    
What music do you listen to?
I fell in love with Mozart at an early age and how effortlessly beautiful his music is.  My favorite is the Marriage of Figaro overture. The film soundtracks of Danny Elfman have moved me in a profound way and continue to be an influence- you can hear it in Gauntlet, Agincourt, Elementals, and Avatar, to name a few.   I especially love his main title music to Beetlejuice and 1989’s Batman.
My all-time favorite composer, though, is Igor Stravinsky. His music continues to astound and inspire me.  “The Rite of Spring” is my favorite piece of orchestral music and The Rake’s Progress is my favorite opera.
There are other composers that I love, like Vivaldi, Boccherini, Debussy, Adams, and Poulenc, but I keep coming back to Mozart, Elfman, and Stravinsky.
What's playing on your iPod/mp3 player right now? 
I use my iPod to set the pace for my workouts and as driving music, so the  frequent tempo and mood changes of classical music don't work so well.   I keep up with a lot of podcasts.
What's the biggest mistake you've ever witnessed at a concert? 
I have a pet peeve about tempos. Young musicians - and even some teachers - brag all the time about how fast they can play, but most pieces aren’t supposed to be played fast. All the nuance and emotion and expression are lost when you tear through a piece as fast as possible. Rushing the tempos is disrespectful to the composer because it misrepresents his or her work and to the audience because it’s denying them a meaningful concert experience.   
Any experienced musician will tell you that slow music is much more difficult than fast music – technical skill doesn’t demonstrate ability as much as good musicianship.  I put metronome markings on all my scores and I want them to be heeded.
What advice do you have for aspiring composers and teachers? 
My advice to aspiring composers is to always keep writing and, whenever possible, have other people play your music.  There’s usually a difference between what it sounds like in your head and what it sounds like when others play it.  Having others play your music will give you an objective idea of how you're doing and if you're communicating musical directions clearly.  Second: don't listen to the haters.  You can't imagine how many times I've been told to hang it up because I'm no good.  Third: never stop learning and improving. I’m always seeking to
grow as a composer, improve my skills, apply different ideas, and add new techniques to my repertoire.
My advice to teachers is that the best way to motivate students is to give them music at their level that they enjoy.  I believe that, as a composer, I’m like a cartographer - I lay out a musical landscape in absolute terms. The conductor and teacher’s job is to be a tour guide through that landscape – to lead the students through the landscape, interpret it, and bring it to life.  The map is always the same, but every teacher will take a different path and every student will take something different away from the journey.