Welcome to my blog

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, December 29, 2014

Amphibians for Band Movement I

This blog post is about a composition that I am writing for the Band For Today Honor Wind Ensemble. Band For Today http://www.bandfortoday.com/ provides Chicago area schools with band and piano programs and I am honored to have been commissioned by them to compose this composition. I will be attending the premiere on April 18, 2015.

I wanted to write a composition that would have both appealing titles and music for young musicians. I settled on a composition called "Amphibians" that has two movements; "Frogs and Toads" that would use croaking sounds as well as leaps and "Salamanders" that will have music representing scurrying and swimming.

The first thing I did was to listen to sounds of frogs and toads at http://www.soundboard.com/sb/Frog_sounds_audio and I was very surprised by the variety of sounds. I tried to incorporate some of these sounds in the seven measure introduction. The bull frogs are created by the low instruments a half step apart accompanied by the ratchet. The tree frog sounds appear in the clarinets and then the flutes. The use of the timpani and suspended cymbal during the introduction creates an undercurrent of night sounds.

The Allegro section, that begins at measure 8, is in 6/8 time and contains the leaping motif. This motif is made up of wide intervals like a 5th, 6th and octave. Scale-wise material surround the leaps providing contrast and there is occasional use of the bull frog sound for punctuation (section A). At measure 26, a contrasting section begins (section B). This sections uses leaps as well, but this time in a descending direction. This section ends with some chromatic lines indicating that something has disturbed the normal peace of the swamp. Measures 36-43 is a percussion variant of the downward leaps before the opening allegro material returns at measure 44 (section A). Measures 62-72 is another contrasting section (section C). It is in a major tonality with a two part canon creating a feeling of celebration. The leaping idea at the end of this section serves as a transition back to the opening allegro melody (section A). The ending is created by repeating a measure a step higher and by using the descending leaps of the B section. The overall form of the movement is Introduction A B A C A.

I decided to write a poem about the animals in each movement that can be used as a narration before the movement is played. Here is the poem for the first movement:


I. Frogs and Toads

Amphibians breathe with gills, lungs or skin
It depends upon what stage of development they are in
With four legs and a backbone they vary in size
They adapt to varied climates, that makes them very wise

First we will mention frogs and toads
They appear to be similar but have different abodes
Frogs are at home where water abounds
While toads like to live where dry climate surrounds

Frogs have strong, long webbed hind feet
Perfect for swimming and an occasional leap
Their skin is smooth and their eyes tend to bulge
More than this, I’m reluctant to divulge

Toads on the other hand have short stubby legs
They are good for walking and look like pegs
With warts on their skin that can give many a fright
But to another toad, their skin is a delight

The sounds of these creatures are quite varied
From very deep croaks to squeaks that are harried
The music you will hear represents just a few
Then it saunters and leaps like toads and frogs do

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. Be sure to use full screen mode for easier viewing of large scores. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Amphibians_blog.html

As always, your comments are appreciated.
Dr. B

Wednesday, December 17, 2014

Antics for Elementary Band - Samples of each movement

I interrupted several projects that I am working on to compose a short part of each movement of Antics for elementary band. This composition is being composed as part of a commissioning consortium where each participant contributes a small amount towards the commission fee and receives local premiere rights for up to a year after the composition is completed. The deadline for joining this commission consortium is January 15, 2015 and the rest of the piece will be composed after that date. For more information about the consortium, please visit http://www.cooppress.net/page9/page385/index.html

The first movement of this two-movement composition is "Dolphins in an Aquarium." The general description of this movement is that it is in a moderate tempo and primarily legato. The whole step eighth note motif represents the dolphins swimming. The rising pyramids in intervals of a perfect fifth represent the dolphins leaping out of the water.

The second movement is "Squirrels in a Park" and its general tone is lively and staccato. The movement begins with the low instruments playing a repeated chord built in 4ths. The playful melody appears in the upper woodwinds and trumpets in the key of Bb. Both movements utilize the percussion for rhythm and color.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. Be sure to use full screen mode to see large score more clearly. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Antics_blog.html

As always, your comments are appreciated.
Dr. B

Thursday, December 11, 2014

Modal Suite Movement 3

This is the 3rd movement of a composition for the Tucumcari Rattlers Xylophone and Recorder Ensemble. My comments in this blog post are written for the students in the ensemble as well as other readers. I hope that I can get my ideas across so that what I am doing as a composer is clear to all my readers. 

The Mixolydian Mambo is a syncopated dance movement. The mambo originated in Cuba and then became popular in Mexico and eventually in other countries. Its key characteristics are the use of Latin percussion instruments and the use of syncopation. The use of Latin percussion instruments was easy to accomplish as I wrote for bongos, claves, and maracas. The syncopation was more of a challenge because of writing for young musicians.

First of all, syncopation means accenting a beat or part of a beat that normally is unaccented. By doing so, tension is created because it goes against the normal pattern. In its simplest form, accenting beats 2 and 4 of a 4/4 measure would be syncopation as beats 1 and 3 are normally stronger. In the Mixolydian Mambo I do some of this by having the recorder players shout "hey" on beat 4 of measures 21-26. The bongo rhythm creates another form of syncopation by doing the rhythm eighth, eighth, quarter. This in itself is not syncopation, but by changing the pitch pattern, syncopation is created. Higher sounds feel stronger than lower sounds. The pattern goes high low high for the first to beats and then high tones align with the normal stressed parts of the beat (down beats). Then it switches to low high low and the stress then falls on the upbeat of beat 3, therefore creating syncopation. The third form of syncopation that I use first occurs in the xylophones at measure 3. A normal rhythm in 4/4/ would be 4 quarter notes where each quarter note occurs right on the downbeat. I use the rhythm quarter note, eighth rest eighth note, quarter note, quarter note. Therefore where one would expect to hear a note on beat two, one hears silence and the note occurs on the weak upbeat of beat two.

I used the D Mixolydian mode (D,E,F#,G,A,B, C, D) for most of the piece except for measures 31-34 where G Mixolydian occurs (G,A,B,C,D,E,F,G). I don't actually have the F in this section as that would involve changing the bars on some of the instruments, but the tonality shifts to G and adds variety to repeated material. The form of this movement is Introduction (1-4), A (5-10), A' (11-16), an ostinato (repeated rhythmic pattern) interlude that builds in intensity (17-29), grand pause where there is total silence for 4 beats to let the tension relax (30), a shortened A (31-34), A' (35-39), and an ending similar to the introduction (40-43).

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Modal_Suite_blog.html

As always, your comments are appreciated.
Dr. B

Friday, December 5, 2014

Modal Suite Movement 2

This is the 2nd movement of a composition for the Tucumcari Rattlers Xylophone and Recorder Ensemble. My comments in this blog post are written for the students in the ensemble as well as other readers. I hope that I can get my ideas across so that what I am doing as a composer is clear to all my readers. 

Lydian Lament uses the F Lydian (FGABCDEF) scale. In order to express sadness, a lot of music uses the idea of a descending half step (the closest distance between any two notes in Western music). In the Lydian mode, this interval occurs between scale degrees 8 and 7 and 5 and 4. The metallophones begin the movement with the 8 to 7 half step (F to E) that quickly expands to a larger unsettled interval, the diminished 5th (F to B) or tritone (the distance between these two notes is three whole steps, therefore a tritone). These two measures are repeated in measures 3 and 4 with harmony added. The glocks expand the idea in measures 5 and 6 by using a melodic line of FECBF (this uses both half step intervals as well as the tritone) before settling with the more stable interval of a perfect 4th (D to A). The recorders play the descending half step motive at measure 7, this time using C to B. It is answered by the xylophones doing a repeated eighth note pattern during the recorder's sustained note. The harmony in these two measures goes from tension (use of the tritone) to resolution (minor triad).

Measures 14-15 create a little bit of optimism by avoiding the half step and the tritone in the quarter note to half note motive. However both of these are used in 16 and 17, but with gentler harmony. This section builds to a climax at measure 21 and then gradually returns to the sadness by measure 26. Measure 26 to the end uses similar ideas to the beginning and leaves the listener with a feeling of unresolved tension.

In this movement I suggest using found objects in the percussion section. The Tucumcari Elementary School was recently involved with a project that created art from found objects and that art also created sound. I am excited to see what sounds the group decides to use in my composition.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Modal_Suite_blog.html

As always, your comments are appreciated.
Dr. B

Thursday, November 27, 2014

Modal Suite Movement 1

I am very honored to be composing a composition for the Tucumcari Rattlers Xylophone and Recorder Ensemble. I am in awe of the accomplishments of this rural elementary school in New Mexico in bringing the arts to the students and the community. Many thanks to music teacher Andrew Kesten for his vision, dedication, and hard work. I also wish to thank Andrew for his guidance in writing for Orff Instruments. I have never written for these instruments and after a Skype session and a few emails, I am feeling more comfortable with the possibilities of the instruments and the ensemble.

My comments in this blog post are written for the students in the ensemble as well as other readers. I hope that I can get my ideas across so that what I am doing as a composer is clear to all my readers. 

The title of the composition came about because I like composing in modes and I thought that using them would give a little different sound to my composition. The modes are eight note scales that like major and minor, consist of a pattern of whole steps and half steps. The difference is that the half steps occur between different scale degrees than major and minor and the result is an entirely different flavor. The modes that I am using are E Phrygian (EFGABCDE), F Lydian (FGABCDEF), and D Mixolydian (DEF#GABCD). There will be three movements: Phrygian Polka, Lydian Lament, and Mixolydian Mambo.

Before I get started discussing the first movement, I would like to mention three things that composers try to do when they compose music.

1) Control unity and variety. Unity are the things in music that hold the composition together and most often occurs as repetition. Variety is obtained by doing something different. If a composition has too much unity, it becomes booooring. If it has too much variety, it is difficult to make sense of the music. Since music has so many different elements like rhythm, melody, harmony, dynamics, instrumentation, etc., unity and variety occurs on many different levels. For example, unity (repetition) of rhythm may have variety in the melody. This brings us to the 2nd item.

2) One of the fun things that composers like to do is varied repetition. Varied repetition is when a musical idea is the same, but different. All art has some form of varied repetition. Because it is both the same and different, it is up to the person listening to or viewing the work to decide which is more important. This is what makes art open to interpretation and as a result, integrates both sides of the brain, the scientific side and the intuitive side. I use a lot of varied repetition in my music.

3) Symmetry - Symmetry creates balance. As symmetrical human beings, we expect things to be in pairs. We have two eyes, two ears, two arms, two legs, etc. Twos or multiples of two feel normal to us. As a composer, when I use symmetry, the music proceeds logically. But too much logic can make a composition boring, so using asymmetry can add interest to a composition.

Let me explain how each of these are used in this composition.

Measures 1-24 serve as an introduction before the tune itself starts at measure 25. The introduction can be divided into three parts. Measures 1-9 consists of a 5 measure phrase followed by a 4 measure phrase which creates asymmetry. At first glance, it seems like measures 6-9 is a repeat of measures 1-4 (unity) and it mostly is, but if you compare the glockenspiel part in measures 4 and 8, you will see the melodic pattern reverses itself (varied repetition). Measures 10-20 consists of a 6 measure phrase followed by a 5 measure phrase (some more asymmetry). This material sounds new therefore creating variety, but there are some things that are similar to the first section. In measure 15, the S.D., W.B., and C.B. does the same idea that is used in measures 2 and 5. The xylophone parts starting at measure 10 are a rising version of the downward scale the xylophone did in measure 3 (varied repetition). So is this section the same or different?  It sounds different on the surface but is related at a subconscious level. By the way, I did not plan this. My ears told me what to do while I was composing, but the unifying factors exist naturally because of my years of studying and composing music. The third section of the introduction is a vamp (short repeated ideas) the set up the polka rhythm (moderate tempo with 2 beats per measure and frequent use of eighth note two sixteenth notes or two sixteenth notes and an eighth note rhythm).

I'm not going to go through the entire movement in this manner, but similar relationships exist in the remaining musical material. I'll just describe the overall structure. The main musical theme (A) enters at measure 25 in the woods and is a symmetrical 4 measure phrase. It is followed by a 7 measure phrase in the metals and the S.D., W.B., and C.B. This material repeats at measures 36 - 46. Measures 47 - 54 offers a contrasting section (B). This section repeats at measures 55-63. The A section returns at measures 64-74. Measure 75 begins like another A, but this time it is extended by repeating and overlapping the last measures of the phrase to build in intensity until the end.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Modal_Suite_blog.html

As always, your comments are appreciated.
Dr. B

Sunday, November 9, 2014

Intermezzi for Euphonium and Piano Movement 4

This is the last movement of a composition for euphonium and piano at a college level. It is being composed through a commissioning consortium where each participant pays a small fee that is refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html

The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements.The fourth Intermezzo is rhapsodic in an Andante tempo. By rhapsodic I mean that the music seems to self generate itself. For example, the euphonium part in measure 3 introduces the basic motivic idea of a rising leap followed by a scalar descent. This motive is transformed in measures 7 and 8 but still follows the same shape. The transformation is then sped up and generates a longer sixteenth note conclusion that evolves into a new syncopated idea that explores the leaps. Each idea generates a variant that sounds related, yet is fresh. The music develops in this manner and climaxes at measure 31. After measure 31, the music winds down back to a restatement of the opening before ending quietly. Once more lush jazz chords and counterpoint are employed to accompany the melodic lines.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Intermezzi_blog.html

As always, your comments are appreciated.
Dr. B

Thursday, November 6, 2014

Bachburg Concerto No. 5 Movement 3

This is the last movement of a concerto for two tubas and piano that is commissioned by Thomas Lukowicz of Wright State University. Tom is planning a CD of Bach duets and wanted a modern composition that would fit with the music of Bach. Since Bach composed 6 Brandenburg Concerti, I thought that Brandon should compose 6 Bachburg Concerti. This is number 5 in the series. It is influenced by the music of Bach mainly in its reliance on counterpoint.

In order to contrast the other movements, I chose to write the last movement mostly in complex time. It is mostly in 5/8 and 7/8 and each of these meters frequently change the grouping of 2s and 3s, therefore adding even more rhythmic variety. The irregular meter is offset by sections in 6/8 that I tend to use as a way of settling the intensity at the end of the formal sections. The harmony is a combination of modal triadic harmony and quartal harmony. There are frequent modulations that create tonal variety.

Here is the form of the movement and a description of what occurs in each section:

1-4 - Piano intro 5/8
5-19 - A - consists of 3 phrases a a b - a is in 5/8 and the b is in 6/8
20-35 - A - piano has melody, tubas add fill in 6/8 bars
36-43 - B - 2 phrases - 2nd phrase modulates - combination of 7/8 and 5/8
44-51 - B - repeat of above with slight variation
52-64 - B' - Piano has the melody and the idea is extended
65-83 - A' - the A section is developed by tonality shift and other alterations
85-115 - B - recapitulation of the 3 earlier B sections with the last one leading to the tuba cadenza
116-140 - Tuba cadenza - this section is designed to settle the intensity before the final push to the end - it uses fragments from both the A and B material and towards the end of the cadenza, it derives its material from the first movement
141 - Coda - Uses B material to conclude the movement

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Bachburg5_blog.html

As always, your comments are appreciated.
Dr. B

Friday, October 31, 2014

Intermezzi for Euphonium and Piano Movement 3

This is the third movement of a composition for euphonium and piano at a college level. It is being composed through a commissioning consortium where each participant pays a small fee that is refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html

The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. The third intermezzo is in a Lento tempo and while it is metered with a quarter note pulse, the music feels unmetered. This fits with the free, moody nature of the movement that wanders in tonality as well. The form is loosely ABABCA but it is obscured by motives each section appearing in other sections and by the euphonium and piano exchanging melodic material. The accompaniment is also sparse and coloristic utilizing the full range of the piano.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Intermezzi_blog.html

As always, your comments are appreciated.
Dr. B

Monday, October 13, 2014

Bachburg Concerto No. 5 Movement 2

This is the second movement of a concerto for two tubas and piano that is commissioned by Thomas Lukowicz of Wright State University. Tom is planning a CD of Bach duets and wanted a modern composition that would fit with the music of Bach. Since Bach composed 6 Brandenburg Concerti, I thought that Brandon should compose 6 Bachburg Concerti. This is number 5 in the series. It is influenced by the music of Bach mainly in its reliance on counterpoint.

Since writing the first movement, I had heard from Tom with some suggestions. Both suggestions had to do with the tubas sounding muddy. In measures 36-38, I brought the first tuba up an octave to gain the needed clarity. In measure 46, I changed the 2nd tuba note to a G from and Eb. This avoided the first inversion of the triad that tends to be muddy because of the abundance of overtones in the tuba tone color. There is enough of the Eb in the piano accompaniment so that no harmony is lost. Thank you Tom for those suggestions.

The second movement is at a Lento tempo. Lyricism and lush harmonies were my goal in this movement and counterpoint, while still presented, is secondary. The form is quite simple ABAB Coda. It begins with the two tubas alone for eight measures. Then this idea is repeated with piano accompaniment. The piano introduces the material for the B section that consists of descending thirds and dotted rhythms. The tubas enter for the second part of this section. Once again the ideas repeat but this time with the piano up an octave for timbral variety.

The A section only comes back once in the repeat. It is varied by a slower tempo and the tubas are alone for only 4 measures before the accompaniment enters. The B sections returns in a similar manner to when it was first heard. A brief coda that elongates the last motive leads to the two tubas finishing the movement alone.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Bachburg5_blog.html

As always, your comments are appreciated.
Dr. B

Tuesday, September 30, 2014

Intermezzi for Euphonium and Piano Movement 2

This is the second movement of a composition for euphonium and piano at a college level. It is being composed through a commissioning consortium where each participant pays a small fee that is refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html

The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. The second intermezzo uses a light swing feel in a 7/4 meter. The harmony uses frequent 7th and 9th chords and counterpoint is also often used. Other jazz elements incorporated at times are a walking bass line and blue notes. The form is ABA.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Intermezzi_blog.html

As always, your comments are appreciated.
Dr. B

Friday, September 26, 2014

Bachburg Concerto No. 5 Movement 1

As I stated in my previous post, I am working on two compositions simultaneously. This is the first movement of the second one, a concerto for two tubas and piano that is commissioned by Thomas Lukowicz of Wright State University. Tom is planning a CD of Bach duets and wanted a modern composition that would fit with the music of Bach. Since Bach composed 6 Brandenburg Concerti, I thought that Brandon should compose 6 Bachburg Concerti. This is number 5 in the series. It is influenced by the music of Bach mainly in its reliance on counterpoint.

I use the key signature of C minor because a lot of the music is in C natural minor or Aeolian mode or its dominant G minor. But key signatures or keys rarely mean much to me as I let the music freely wander to wherever it wants to go. For example, within the first five measures of this movement, the tonalities go from C minor to F minor to G minor back to F minor and then back to C minor at measure 6. A few chromatics are thrown in for good measure as well. Hence there is much tonal interest even though it is fairly traditional in terms of tonality.

After the piano introduction, the tubas enter at measure six with some imitation and independent lines. In order to keep the clarity of the lines, the piano accompaniment is kept simple. I did a previous version of this section where the piano was also playing counterpoint and discarded it because the lines became very muddy. The piano has some brief interludes that create a tutti/concertino effect.

Measure 28 introduces a contrasting thinner and more lyrical section. This is like a second theme in a sonata form. Measure 48 begins what sounds like a development section. Measure 67 returns the listener to the second part of the first theme before a recapitulation takes place at measure 72. The second part of the first theme is now omitted in the recapitulation. The second theme returns in a different tonality at measure 93. Measure 113 begins the final push towards the end and serves almost like a 2nd development section. The modulation at measure 122 adds to the push. There are meter changes subtly added throughout that breaks the continuity of the 4/4 meter.

II export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Bachburg5_blog.html

As always, your comments are appreciated.
Dr. B

Friday, September 19, 2014

Intermezzi for Euphonium and Piano Movement 1

This is the first movement of a composition for euphonium and piano at a college level. It is being composed through a commissioning consortium where each participant pays a small fee that is refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html

I am doing something that I can't recall ever doing before while composing this piece. I am working on two compositions simultaneously. In addition to this composition, I am working on a concerto for two tubas and piano. The two pieces are in a very different style and because of this, I don't anticipate having a problem. I plan to complete a movement of one piece and then do a movement of the other piece and will be blogging about them as they get completed.

The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. This first intermezzi used lush jazz harmony like major 7th chords and 9th chords and also wonders around chromatically. The euphonium line is very lyrical and sounds improvisitory, almost like a jazz ballad. The form is ABA with B being a cadenza for euphonium. The second A has some slight variation from the first.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Intermezzi_blog.html

As always, your comments are appreciated.
Dr. B

Monday, September 8, 2014

Movie Music - Movement 3

This is the third movement and final of a 3-part flexible instrumentation composition at a high school level. It is being composed through a commissioning consortium where each participant pays a small fee that is partially refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page395/index.html 

The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.

I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.

Most movies have some sort of chase scene so it was logical for me to include music for one in my composition. The Presto tempo, staccato notes and accented notes all create a sense of fast action. I began with a single instrument representing the person being chased. Gradually more instruments enter representing the pursuers. This effect is repeated several times throughout the composition indicating that the person being chased has temporarily outfoxed his pursuers. The music from measures 9-17 occurs several times representing the pursuers closing in on the target. The section that begins at measure 36 provides a contrast as the melody itself in legato. One could think of this section representing a straight-away where there is less danger, however, the underlying staccato accompaniment indicates that the subject is still being pursued. Measures 50 to 56 grows in intensity as the subject is coming close to being captured, however he eludes his pursuers once more. The opening sections repeat as the chase goes on. At measure 92-97, the pursuers are closing in and in the last two measures a dissonant chord is used to represent either a crash or the capture.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Movie_Music_blog.html

As always, your comments are appreciated.
Dr. B

Friday, August 29, 2014

Movie Music - Movement 2

This is the second movement of a 3-part flexible instrumentation composition at a high school level. It is being composed through a commissioning consortium where each participant pays a small fee that is partially refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page395/index.html 

The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.

I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.

The second movement is called Love Music. I guess because I am a tuba player who rarely gets an interesting part in orchestra, I am sensitive to giving each part something of interest. Because of this, my music emphasizes counterpoint and that can make in more challenging for younger musicians to perform because it requires independent counting. At the same time, it teaches musicians to become more secure in their own counting and to listen to other parts to see how their part fits into the whole. These are necessary skills for any musician to develop.

This movement is no exception to my style that emphasizes independence. The use of 6/8 and 9/8 meters are not as familiar as 4/4 and 3/4 but should be in the grasp of high school musicians. My rhythm patterns within these meters have slight variants of the usual rhythmic patterns by incorporating dotted notes, rests on the strong beats, and faster notes on strong beats, all of which creates rhythmic interest.

The form of the movement is ABACBA. The B section is the most intense with rich harmonies. slightly faster tempo, and louder dynamics. The A sections are slightly more melancholy as love has its ups and downs. The C section is the most chromatic, perhaps suggesting doubt in the relationship. However this conflict is resolved at the end when the piece ends on a pure major triad.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Movie_Music_blog.html

As always, your comments are appreciated.
Dr. B

Saturday, August 16, 2014

Movie Music - Movement 1

This is the first movement of a 3-part flexible instrumentation composition at a high school level. It is being composed through a commissioning consortium where each participant pays a small fee that is partially refundable and receives score and parts, local premiere rights and an inclusion in the dedication. For more information about the consortium, please visit http://www.cooppress.net/page9/page395/index.html 

The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.

I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.

The first movement is called Theme Music. While composing this, I had no particular movie plot in mind. I just wanted something that would be heroic with contrasting sections of lyricism. I also wanted it to build in tension to a climax. Measures 1-5 states the heroic idea before transitioning to a slightly mellower section that uses imitation. At measure 12 and 13, a rhythmic ostinato is introduced. This motive gradually takes over as the composition progresses. Measures 14-23 develops the fanfare idea as well as the more lyrical contrapuntal section. Measure 24 introduces the most lyrical section of the movement, however tension is kept by the use of the rhythmic ostinato. Measure 45 begins the recapitulation therefore creating an ABA form. Tempo changes are used in the closing section to add excitement. The harmonic language is a mixture of triads, quartal and quintal harmony.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Movie_Music_blog.html

As always, your comments are appreciated.
Dr. B

Monday, August 11, 2014

My composition "Bantu" selected as a winner

I am pleased that my 2014 composition "Bantu" has been selected as one of five winners in the Third Annual Sul Ross State University Wind Ensemble Composition Competition. There were over 80 entries from 30 states and 15 countries. The composition will be premiered on October 9 by the Sul Ross State University Wind Ensemble in Alpine, Texas and after the concert, one of the five compositions will be selected as the grand prize winner. 

I don't enter a lot of competitions these days for several reasons. One is that many of them have an age limit or stipulate that the composer should be in the early stages of his or her career. Secondly, many competitions are looking for works that are in a more modern style. I prefer to write in a style where melody and tonality are still important. This does not mean my music is a throwback. I just achieve my modernity in other ways. Lastly, many competitions want works written that have never been performed. Most often that means that one needs to compose a piece specifically for the competition and I rarely have time for that.


With the Sul Ross competition, I felt that my style was a good match for their requirements and decided to compose a piece specifically for the competition. I am pleased that my time and effort was rewarded and I am looking forward to my visit to work with the wind ensemble and to hear the premiere.


Dr. B

Saturday, August 2, 2014

Chorale Preludes in Modern Settings Movement 7

This is the 7th and final movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments mostly play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

I have always been musically attracted to the carols Angels We Have Heard on High and Ding Dong Merrily On High because both carols contrast syllabic (one note per syllable) text settings with melismatic (many notes per syllable) text settings. I though it would be fun to combine these two carols in different ways.

The first thing I wish to discuss is the underlying rhythmic pulse. Both carols are in 4/4 time, however instead of 4 equal beats with each beat divided into two, I use melodic accompaniment figures that suggest grouping the 8 eighth notes into 3+3+2 pattern. The musician just counts normally, but the effect is this syncopation/hemiola that permeates most of the composition. You can examine the first two measures to get a clear understanding of this concept.

Measures 3-22 present Angels We Have Heard on High with each phrase interrupted by this rhythmic ostinato. At measures 23-30, instead of repeating the melismatic section of Angels, I switch to the melismatic part of Ding Dong. Measure 31 uses the rhythmic ostinato before going into Ding Dong Merrily on High. At measures 42-57, I alternate my original melismatic passage in two-part counterpoint that is derived from Ding Dong with the actual melismatic section of Ding Dong. Measures 58 to the end alternates phrases from both carols all with the rhythmic ostinato underpinning. This all leads to an exciting, triumphal conclusion.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Thursday, July 24, 2014

Chorale Preludes in Modern Settings Movement 6

This is the 6th movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments mostly play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

I chose to combine two of my favorite hymns for this movement, All Creatures of Our God and King and For the Beauty of the Earth. For the eight-measure introduction, I created a variation of All Creatures by using the high and low points of the opening phrase (perfect 5th) and the three note scalar motif. This variant has a lot of diminution (cutting the note values in half) making it faster sounding than the tune itself. The "Alleluia" section of the hymn closes out the introduction (measures 5-8).

At measure 9, flute 2 is given the "All Creatures" melody while the first flute uses fragments of the same tune as a counter melody. The fourth flute has a sustained harmony part while the third flute plays a staccato and accented note every time the 4th flute changes pitch. This technique serves two purposes. It gives the instruments something different to play while also emphasizing the harmonic change, and introduces the idea of staccato contrasting legato that will be developed later on.

This section quietly winds down before a forte D major chord appears suddenly at measure 27 as an introduction to the new key and the next section. Once again notice the use of staccato notes against the sustained notes. Because of the homogeneous sound of the flute choir, it is very difficult to have several melodies occurring simultaneously without clarity being lost. My solution was to do the "All Creatures" melody legato and the "Beauty" melody staccato. The 3rd flute has the "All Creatures" melody and the other flutes do fragments from the "Beauty" melody in counterpoint from measures 29-45. A coda built out of the last phrase of "Beauty" closes the movement.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Monday, July 21, 2014

Chorale Preludes in Modern Settings Movement 5

This is the 5th movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

Come Thou Almighty King begins with a festive introduction followed by three settings of the tune. The introduction establishes a motivic idea in the first flute that permeates the composition. The introduction has parts of the tune interspersed as well. It lasts from the beginning until measure 16.

The first setting of the tune goes from measure 19 through 35. The first two phrases are interrupted by a return to the introductory motive. The remaining phrases have the sixteenth note motive interwoven into the parts.

A change of key, dynamics, and style is used for the second statement that goes from measure 36 to 52. This section is more expressive and mostly slurred as opposed to the marcato/maestoso style of the outer sections. The first flute plays an obligato that is derived from the introductory material.

Measures 52 and 53 serve as a transition back to the maestoso and uses syncopation. The last setting is the most straight-forward. Flutes 2, 3 and 4 do the hymn in harmony while the first flute does a descant, again derived from the introductory material. A deceptive cadence at measures 69 and 70 that uses a major triads built on the lowered 6th degree and then the lowered 2nd degree of the scale, creates a surprise ending. The sudden dynamic change adds to the surprise.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Friday, July 18, 2014

Chorale Preludes in Modern Settings Movement 4

This is the 4th movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

Holy, Holy, Holy is set with two contrasting elements. The first is a chromatic, slightly atonal section at the beginning and between the two verses that suggests the mystery of faith. The second is the settings of the chorale itself in a tonal treatment with counter-melodies. The chromatic, slightly atonal sections use a thinner texture as well. They also outline the rhythm of the hymn and that gives these sections an air of familiarity.

The treatment of the hymn is similar both times. I divide the hymn tune between all four flute parts by giving the 4th flute the tune in measures 1 and 2, the 2nd and 3rd flutes the melody in measures 3 and 4, and the first flute the melody in measures 5-8. One of the challenges in writing for flute choir is the limited range of the flutes that makes it difficult to not cross voices when the lines are independent. You will notice that when the 2nd and 3rd flutes have the melody, there is an octave leap in the middle in order to avoid the cross voices. Another challenge is balance as the flute's low register is weak dynamically. Having an alto and/or bass flute helps the 4th flute line project. If this is played only with the 4th flute, care must be taken to balance the ensemble. The moving lines around the melody should be thought of as an obligato or descant part. The ending is like a written out ritard accounting for the use of the 2/4 and 3/4 measures. It also has a deceptive cadence in measure 52.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Monday, July 14, 2014

Chorale Preludes in Modern Settings Movement 3

This is the 3rd movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

Christ, the Lord, Is Risen Today is the chorale that I used for this movement. An eight measure introduction that has a triadic melodic idea echoed by a slightly syncopated idea sets up some of the major elements used in this setting. Measures 9 - 20 has a diminutive version of the tune. This is followed by an interlude in imitation. At measure 35, the key changes and the triadic motif from the introduction is combined with fragments of the tune. The key changes again at measure 43 as the previous section's ideas are restated. Measure 51 brings the listener back to the original key and treats part of the closing phrase of the him sequentially before modulating to F major at measure 59. The concluding section uses the tune in a more straight-forward manner but it is accompanied by the syncopated rhythmic motif from the introduction. The tune phrases are divided between the high and low instruments. The ending uses a surprise deceptive cadence before concluding.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Wednesday, July 9, 2014

Chorale Preludes in Modern Settings Movement 2

This is the 2nd movement of a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

I chose "Wondrous Love" for this chorale prelude. After a quiet introduction in 3/4 for four measures, the meter changes to 4/4 for the tune. I have set two verses of this plaintive melody in the 2nd and 3rd flutes. The first flute plays a descant all the way through. The 4th part has an independent bass line. All this creates a three-part counterpoint. The first verse has rests between each of the phrases where the descant and bass line fill in the gaps. The second verse eliminates the rests between phrases. The movement ends with a repeat of the last phrase as a coda.

I found the harmony of this tune fascinating. It is very modal and while it appears to be in c minor, it begins and ends on a subdominant (iv) chord. I made the harmony even more interesting by alternating between the major form of the submediant (VI) and a borrowed minor version. This can be observed by the use of D or Db, therefore creating the two different versions of the chord.

The other thing to note is my judicious use of staccato in this primarily legato tune. The tune itself is almost always legato (slurred) and to set off the decant which crosses above and below the tune, I use staccato notes. The bass line also becomes staccato at times to support the descant. I hope that this variation in articulation creates interest and also aids in the clarity of the lines.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Sunday, July 6, 2014

Chorale Preludes in Modern Settings Movement 1

I have begun work on a 15-20 minute composition for a four-part flute ensemble at an intermediate (early high school) level. The piece is called "Chorale Preludes in Modern Settings" that would have five to eight short movements where each movement would be based on a hymn or hymns and would use the hymn in a creative manner, rather than just a chorale-like setting. The music would still be mostly tonal and lyrical. Each Chorale Prelude can be performed individually and the composition short work equally as well in a church or concert setting.

The required instrumentation is at least 3 flutes plus a 4th flute, alto flute, and/or bass flute as these three instruments play the same line. There is also an optional piccolo part that mostly doubles the first flute an octave higher in spots.

The first chorale is Now Thank We All Our God. After a two-measure festive introduction, a two-beat fragment of the tune is treated in imitation for four measures. This is followed by two measures of festive music and then the last two measures of the first phrase of the tune. A slight shift in tonality brings in a setting of the third phrase of the tune at measures 11 - 18. Measures 1 - 8 returns at measure 19 but down a step for the first two measures. A four measure interlude that is slightly dissonant ushers in another variation of the tune that lasts until measure 42. The four measure interlude brings the listener to the final variation where the low flutes have the tune stated in augmentation while the upper flutes do the festive tune and fragments in imitation. Measure 69 introduces some chromatically altered chords that build in tension and excitement until the end.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Chorale_Preludes_blog.html

As always, your comments are appreciated.
Dr. B

Wednesday, June 18, 2014

Wonderland Versions

I am now in the process of creating the various version of Wonderland for the commissioning consortium participants. I started with the quartet versions, then I'll do the quintet versions, then the trio with piano versions, and finish up with the generic version that would have parts A, B, C, and D written for a spectrum of instruments in the S, A, T, B range. This version could be used with any S, A, T, B range combination. I am almost finished with the quartet versions. Here is a list of the instrumentation of the project participants:

Reed Quintet
Flute, Clarinet, Horn, Bassoon/Bass
SATB Sax Quartet
Flute, Oboe, Clarinet, Bassoon (optional Horn)
Piano, Violin, Flute
String Quartet
Viola Ensemble
Flute, Saxophone, Piano
Brass Quintet
Clarinet Quartet (3 clars., 1 BC)
Clarinet Choir (3 clars. Bs. Clar. CB clar)

As you can see, I have my work cut out for me, but fortunately notational software programs make this easier to do. I only need to adjust ranges, articulation, and dynamics. For the quintet versions, I need to divide some of the music among 5 instead of 4 instruments, maybe consider some doubling of parts, and maybe create an enhanced or simplified line or add some additional harmony. There are a lot of possibilities. For the trio versions with piano, I will need to put two of the parts in the piano and maybe add some harmony. I will definitely need to try to make the music more pianistic.

To see and hear Wonderland, go to http://www.cooppress.net/Wonderland_blog.html. I am still accepting groups to join the consortium and will do so until the versions are completed which expect to have done by the end of June. Visit http://www.cooppress.net/page9/index.html for more information.

As always, your comments are appreciated.
Dr. B

Friday, June 13, 2014

Looking for ideas

I am looking for ideas for the next Co-op Press Commissioning Consortium project and would like to draw upon the collective wisdom of my readers for suggestions regarding instrumentation and ability level. The way our consortia work is for interested parties to agree to pay a small “refundable” participation fee upon receipt of a pdf copy of the music. The fee will be refunded when you send us a program and recording of the performance. The participating groups have the right to a local premiere for one year following the receipt of the composition and inclusion of the group name in the dedication. 
For more information about our consortia and to make a suggestion, please visit http://www.cooppress.net/page9/index.html

Thanks for your help.
 


Dr. B

Wednesday, June 11, 2014

Wonderland Movement 6

I have completed the 6th and final movement of this new composition for an ensemble of 3-5 instrumentalists. I am composing the piece for four unspecified instruments, one each in the soprano, alto, tenor, and bass ranges. This gives me flexibility in reducing the score for an ensemble of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also combine lines and add harmony to accommodate a pianist within the group. I will customize the music for each of the participating ensembles in the commissioning consortium by varying the ranges, changing keys, changing articulation, and adjusting the balance as needed. For more information about joining the consortium, please go to http://www.cooppress.net/page9/index.html

The sixth movement is called the Queen of Hearts. I originally intended to do a movement on the Queen of Hearts and a separate movement as an Epilogue where Alice wakes up and remembers her dream. Instead, I have combined these two into one since the Queen of Hearts is present is so many scenes in the story. 

I began by creating some regal sounding music. In measure 8, I introduce a triplet figure followed by a half note. This motive I call the "off with their heads" motive because the rhythm mirrors the words and the harmony is somewhat dissonant. The regal music continues through measure 24 and the "off with their heads" motive appears more frequently. Measure 25 brings back a fragment of the White Rabbit music as he is part of the Queen's trial. The Mad Hatter, Dormouse, and March Hare's music appears at measure 33 as they are also present and this section ends with the "off with their heads" motive. At measure 45 the tempo is cut in half as the Cheshire Cat music is revisited. The "off with their heads" motive in this section is gentler as the Queen wonders how can you cut the cat's head off when all that remains is the head. Measure 55 transitions the listener back to Alice's growing music from movement 1. It builds in intensity until measure 62 where the Queen's music returns. Measure 66 gives us three more repeats of the "off with their heads" that gradually weaken, as Alice is now waking up from her dream. Measure 65 to the end uses the falling down the hole music but with ascending figures instead of falling figures to show that Alice is waking up. The last statement is derived from the "off with their heads" motive as a reminder of the Queen, even though Alice is awake.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html

As always, your comments are appreciated.
Dr. B

Monday, June 9, 2014

Wonderland Movement 5

I have completed the 5th movement of this new composition for an ensemble of 3-5 instrumentalists. I am composing the piece for four unspecified instruments, one each in the soprano, alto, tenor, and bass ranges. This gives me flexibility in reducing the score for an ensemble of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also combine lines and add harmony to accommodate a pianist within the group. I will customize the music for each of the participating ensembles in the commissioning consortium by varying the ranges, changing keys, changing articulation, and adjusting the balance as needed. For more information about joining the consortium, please go to http://www.cooppress.net/page9/index.html

The fifth movement is called the Mock Turtle and is melancholy and chromatic. It is in an AA'BA''A''' form. This movement cried out to me to begin with a harmonic progression instead with a melodic idea. One of the characteristics of the Mock Turtle's story is the use of puns. Since puns have a double meaning, I related the idea of double meaning to enharmonic tones, hence the wondering chromaticism of this movement that doesn't seem to settle in any particular key for any length of time. The chromaticism also created the chord progression by following the voice leading tendency of the chromatic notes or their enharmonic equivalents. The key signatures that are used are more to aid in reading than to declare a specific key. 

Just like the Mock Turtle's story, there is no reprieve from the sadness of this movement. The four A sections vary slightly from each other by key, instrumentation, melodic enhancement, and rhythmic variation. The B section is created out of motives from the A section but provides contrast in texture at the beginning of the section. It also contains the climax of the melancholy through the use of dynamics and tempo changes.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html

As always, your comments are appreciated.
Dr. B

Friday, June 6, 2014

Wonderland Movement 4

I have completed the 4th movement of this new composition for an ensemble of 3-5 instrumentalists. I am composing the piece for four unspecified instruments, one each in the soprano, alto, tenor, and bass ranges. This gives me flexibility in reducing the score for an ensemble of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also combine lines and add harmony to accommodate a pianist within the group. I will customize the music for each of the participating ensembles in the commissioning consortium by varying the ranges, changing keys, changing articulation, and adjusting the balance as needed. For more information about joining the consortium, please go to http://www.cooppress.net/page9/index.html

The fourth movement is called the Mad Hatter and it musically tells the story of the Mad Tea Party. The movement just alternates two main ideas. The A sections are rhythmic, disjunct, and dissonant. The intervals of major 2nd, tritone, perfect 4th, and minor seventh are frequent used. The melodic lines are atonal. All this reflects the senseless riddles that the Hatter and the Hare pose to Alice. In addition, each time the A section returns, it is in a different key(?) reflecting the shifting of seats during the tea party. 

The B section is a short section where the descending, more sustained line represents the Dormouse falling asleep and the short outbursts from the other instruments represent the Hare and the Hatter waking him up. 

Even there is a lot of repetition of material, each repetition has its own subtle variation. See if you can pick them up.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html

As always, your comments are appreciated.
Dr. B

Thursday, June 5, 2014

Wonderland Movement 3

I have completed the 3rd movement of this new composition for an ensemble of 3-5 instrumentalists. I am composing the piece for four unspecified instruments, one each in the soprano, alto, tenor, and bass ranges. This gives me flexibility in reducing the score for an ensemble of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also combine lines and add harmony to accommodate a pianist within the group. I will customize the music for each of the participating ensembles in the commissioning consortium by varying the ranges, changing keys, changing articulation, and adjusting the balance as needed. For more information about joining the consortium, please go to http://www.cooppress.net/page9/index.html

The third movement represents the Cheshire Cat who assists Alice in finding her way through Wonderland by challenging her with philosophical questions that she cannot answer and then disappearing only to appear again in another location along her travels. Sometimes when he disappears, nothing is left but his grin. The grin was the starting point for this movement as I came up with the idea for a grin motif that would be a sextuplet figure that descends stepwise and then returns to the starting pitch. This musical melodic shape is a grin when notated and should be recognizable aurally as well. It first occurs at measure 9 in the movement and is the germ idea for this section.

The movement itself is in an ABA form with a short coda. It is in a slow tempo and contrapuntal, therefore suggesting contemplation. The A section has four independent lines that simultaneously work together and independently. There are sections of brief imitation. It builds in texture then thins indicating the cat fading in and out. The B section continues the contrapuntal structure but introduces the grin motif where three of the four lines begin with it. This section ends with the grin motif in imitation before fading away. The A section returns with some slight variation before easing into the coda consisting of the grin motif in imitation. Two beats of silence precede the final notes in the lowest instrument. Harmonically, the movement hovers between d minor and F major before ending on G.

I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I  upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html

As always, your comments are appreciated.
Dr. B