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.

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