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I have created this site in order to provide performers, listeners and composers with a description of a composer's experiences with the creative process. The posts will provide discussions of the inspirations, challenges, and successes of a composer from the inception of the piece to the culmination in performance. I will provide a link to where you can see and hear the works in progress. Comments and questions are always welcomed. They will not posted unless you grant me permission.

Monday, March 2, 2009

Contrasts for Euphonium and Piano Part 2

I have begun the fast section of Contrasts and I am pleased with how it is going. It is challenging for me to compose with uninterrupted daily sessions as things keep coming up regarding my impending move to the Southwest. I also spent several days moving some cassette recordings of my music over to digital. That was an interesting project as it gave me a chance to review several earlier compositions and I have decided to eliminate some of those works from my catalog. My main reason for eliminating them was because they are too dissonant. They were composed during the 1970's and early 1980's and I find that I have become more tonal in my later years.

The fast section of Contrasts begins with a syncopated motif in the euphonium and a staccato 1/8 note bass line in the piano. The piano soon picks up the syncopated rhythmic feel while the euphonium becomes more lyrical with its line that is interspersed with some staccato figures for contrast. I find myself attracted lately to a 3 phrase structure reminiscent of the 12 bar blues (a a b). However my 3 phrase structure is often 11 bars instead of 12. The piano them takes over the euphonium part in the right hand beginning at measure 62 while the left hand remains syncopated. From measure 73 to the downbeat of 79, the euphonium and piano have a transition section consisting of the running 16th notes over syncopation. From the 2nd beat of measure 79 up to where I stopped is a more lyrical 2nd theme (also in a 3 phrase structure) over a quiet yet intense bass line. The piano fills in with some running 16th notes during the euphonium sustained notes. The harmony of this fast section is primarily quartal (chords and arpeggios in 4ths instead of 3rds).

To see and hear what I have composed thus far, go to  http://www.cooppress.net/contrasts_blog.html

Dr. B

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