Finding a good title for a piece is hard. In the July 4th issue of the New Yorker, Anothony Lane begins his review of the new film “Bad Teacher” with this aside on bad titles:
Waiting for “Bad Teacher” to begin, I caught a trailer for the upcoming “Horrible Bosses.” What is it with these titles? Studios may think that they can palm us off with flat, sour recitations of what their products contain, but, back in 1975, no one would have paid to see a Spielberg film called “Nasty Fish.” In the words of Raymond Chandler, whose ear for a good title was the sharpest of the twentieth century, the names of books and films should conjure “a particular magic which impresses itself on the memory.” “The Maltese Falcon,” as he said, “makes the mind ask questions.”
I have a hard time with titles. While I know a good one when when I hear it, actually creating a great title is a different challenge. In the past, I’ve appropriated names from some of my favorite literary titles: The Sun Also Rises (Hemingway), For Whom The Bell Tolls (John Donne, but also Hemingway), In Search of Lost Time (Proust), and The Hand of Day (Octavio Paz).
Those are all great titles, I just wish I had come up with them myself. I’m trying to get away from this literal borrowing, so I may try brainstorming some completely original titles for my new saxophone piece to see what I can come up with. Currently the working title is What the wind was making, which is a line from one of Pablo Neruda’s love poems. At least it is not already well-known title itself, but I still may try to come up with something completely original. If I have any ideas, I’ll post them here.

























