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.

Wednesday, August 19, 2015

Sonatina for any brass or woodwind instrument - Movement 3

This is the third and last movement of an unaccompanied sonata is being composed for a commissioning consortium where participants contribute a small amount to make the piece happen. While this version is for euphonium, I will be creating a version for each participant's instrument. For more information, visit http://cooppress.net

The form of this movement is an ABACABA rondo. There are subtle differences between the A sections. Sometimes its dynamics and other times articulation, pitch or rhythm.

Your comments are always welcomed.

Dr. B

Sunday, August 16, 2015

Sonatina for any brass or woodwind instrument - Movement 2

This is the second movement of an unaccompanied sonata is being composed for a commissioning consortium where participants contribute a small amount to make the piece happen. While this version is for euphonium, I will be creating a version for each participant's instrument. For more information, visit http://cooppress.net

The form of this movement is a simple A (M. 1-21) B (M. 22-33) A (M. 34-end). It is very lyrical with sliding tonality, in other words, a phrase in one key slips into another key through the use of chromaticism.

I was influenced by a technique used by Fred L. Clinard in his Sonata fro Unaccompanied Euphonium.  In one of the fast movements, he clearly incorporates two distinct lines, a melodic line and an accompaniment line. My 2nd movement begins with an introduction of 3 measures that I call the accompaniment line. The melodic line then begins on beat two of measure 4. Whenever the melodic line feels like it should come to a sustained note, I insert part of the accompaniment line instead of sustaining the note. An example of this is in measure 5. I offset these two lines using dynamics to further distinguish between the two lines. This technique is used throughout the movement and adds variety to the texture.

Your comments are always welcomed.

Dr. B

Tuesday, July 28, 2015

Sonatina for any brass or woodwind instrument - Movement 1

This is the first movement of an unaccompanied sonata is being composed for a commissioning consortium where participants contribute a small amount to make the piece happen. While this version is for euphonium, I will be creating a version for each participant's instrument. For more information, visit http://cooppress.net

This movement follows the traditional sonata form. The first theme starts at measure 1 and goes through measure 10. 11 to 19 serves as a transition to the second theme. The second theme goes from 20 - 35. Measure 36 begins the short development section. A motive from the 2nd theme is first developed by adding a repeated sixteenth note figure to the 3 note rising motive. Part of the transition is also developed during this section. The recapitulation occurs at measure 58 with some slight variations from exposition. The language is tonal with wandering tonalities. Your comments are always welcomed.

Dr. B



Sunday, June 21, 2015

Emoticons Movement III

This is the third movement of my latest three-movement composition for tuba/euphonium quartet called Emoticons. It is being composed as a result of a commissioning consortium consisting of the Tarnished Brass - Rowlett, TX, the University of North Carolina - Greensboro, NC, the Triangle Tuba Quartet - Durham, NC, the University of Tennessee - Knoxville, TN, the University of Tennessee at Chattanooga - Chattanooga, TN, and Kansas State University - Manhattan, KS. More groups are welcome to the join the consortium as the deadline for expressing interest has been extended until June 30, 2015. For more information, please visit http://www.cooppress.net

The idea behind Emoticons is to symbolically represent emotions and this last movement is Euphoria. As you can see and hear, it is in a fast tempo and is in a rondo form ABACABA. The tonality is major with some borrowed chords to spice things up. There are frequent modulations to add variety to the tonality.

The A section is very rhythmic as it alternates meters of 6/8 with meters where the quarter note gets the beat. The eighth note remains constant throughout these meter changes. I used 2/8 instead of 1/4 because I thought it would be less confusing, but the 2/8 has one quarter note beat in it. Sudden shifts in dynamics are used in the A sections to add interest since the A section occurs four times.

The B sections also have meter changes but the quarter note beat dominates with an occasional 3/8 thrown in.

The C section is the central section and is in 4/4 time and more legato for contrast. It begins with the two tubas, then adds canons with the top three instruments while the 2nd tuba does a staccato accompaniment, and finally the melody appears in the 2nd euphonium while the other parts accompany. The A and B sections are primarily C major while the C section explores the mediant keys E major and Ab major, before moving to A major for the last statement.



Your comments are always appreciated.

Dr. B

Thursday, June 18, 2015

Emoticons Movement II

This is the second movement of my latest three-movement composition for tuba/euphonium quartet called Emoticons. It is being composed as a result of a commissioning consortium consisting of the Tarnished Brass - Rowlett, TX, the University of North Carolina - Greensboro, NC, the Triangle Tuba Quartet - Durham, NC, the University of Tennessee - Knoxville, TN, the University of Tennessee at Chattanooga - Chattanooga, TN, and Kansas State University - Manhattan, KS. More groups are welcome to the join the consortium as the deadline for expressing interest has been extended until June 30, 2015. For more information, please visit http://www.cooppress.net

The idea behind Emoticons is to symbolically represent emotions, in this case, loneliness. I do that by using a slow tempo, minor modes, wandering chromaticism, and frequent descending melodic lines.  One way to understand this movement is to observe the four groups of musical ideas that are use. The first is measures 1-4 which uses the wandering chromaticism. The second is measures 5-9 that has the descending line with the triplet figure, often in imitation. The third group is the eighth-quarter-eighth syncopation that is more vertical in structure utilizing minor chords, chords in 4ths, and extended tertian harmony. Much of the harmony in this section is derived by letting each part find the direction it wants to go while keeping in mind the overall vertical structure. These ideas first appears at measures 10 and 11. The last idea is the sixteenth note minor melodic line that is accompanied by the syncopated harmony. It first appears at measures 12-15.

The overall form is ABA. The first two sections mentioned above form the A. The order of these sections is reversed and extended when A returns at the end. The bulk of the movement is development of sections 3 and 4 during the B section. This B section builds in intensity through increased dynamics and tempo. It is as if the lonely person is becoming full of regret at what might have been. The intensity is finally spent when the music transitions back to the A section.



Your comments are always appreciated.

Dr. B

Thursday, June 11, 2015

Emoticons Movement I

My latest composition is a three-movement composition for tuba/euphonium quartet called Emoticons. It is being composed as a result of a commissioning consortium consisting of the Tarnished Brass - Rowlett, TX, the University of North Carolina - Greensboro, NC, the Triangle Tuba Quartet - Durham, NC, the University of Tennessee - Knoxville, TN, the University of Tennessee at Chattanooga - Chattanooga, TN, and Kansas State University - Manhattan, KS. More groups are welcome to the join the consortium as the deadline for expressing interest has been extended until June 30, 2015. For more information, please visit http://www.cooppress.net

During the writing of this composition, I was saddened to learn of the untimely and tragic  passing of one of the participants, Kelly G. Thomas, tuba professor at the the University of Tennessee at Knoxville. Therefore this composition is dedicated to the consortium and is written in memory of Kelly G. Thomas.

The idea behind Emoticons is to symbolically represent emotions. The first movement was to be Jealousy, but once the movement was completed, Bravura seemed to fit it better. What was to be a movement where each instrument tried to outdo the others turned into a dazzling display of self-confidence. The movement opens with a statement of self-confidence by the entire quartet that is interrupted by tubas then the euphoniums each showing their strength. The section at measure 23 has each of the euphoniums playing "bravura" lines over a staccato tuba accompaniment. The section at 35 reverses the roles and the two tuba parts are in canon. A dotted eighth and sixteenth note pyramid figure is introduced at measure 31 and becomes an important part of the movement. It is as if each instrument was saying "here I am." The movement continues to develop using these ideas and variations of these ideas and somewhat resembles an arch form.

Your comments are always appreciated.

Dr. B

Wednesday, April 1, 2015

Playground Movement 3 - Swings

This is the is the third movement of a three movement composition for Drei Bones ( a trombone trio) called Playground by Sy Brandon. The title "Swings" is a double entendre representing the playground swing and a swing style of music.

After a brief two measure introduction, the swing representations begin. In the first movement, I used ups and downs to represented the seesaw. This movement also has ups and downs, but I also ask the musicians to set up so that he first and second trombone are on opposite sides of the stage with the bass trombone in the middle. For the recording that you will hear, I create this effect through panning. This adds the dimension of side to side as well as up and down, therefore representing a swing.

I create variety in this movement through tonality shifts, dynamics, and rhythm and meter changes. The texture is often monophonic as one descending swinging line gives way to another ascending swinging line. Sometimes the bass trombone emphasizes the bottom of the arc or harmonizes the ascending or descending line.  At measure 25 and again at measure 60, each trombone is its own complete swing but the entrances are offset by two beats creating a canon. Picture three swings out of sync with each other during this section. The introductory idea is used and developed for transitions and an ending.


Your comments are always appreciated.

Dr. B

Sunday, March 29, 2015

Playground Movement 2 - Slides

This is the is the second movement of a three movement composition for Drei Bones ( a trombone trio) called Playground by Sy Brandon. It was the idea of trombone glissandi representing playground slides that gave rise to this composition.

There are two main ideas used in this movement. the first is a rising pattern consisting of steps and leaps. This represents climbing the steps to the top of the slide. The second idea is the descending glissandi that represent going down the slide. There are many variants of these two ideas throughout the movement. The first version occurs in measures 1 and 2. Measure 3 and 4 is the first variant where the rising figure begins on the and of beat one instead of on the downbeat, the eighth note triplet is turned into a sixteenth note triplet, and the slide takes four beats instead of three. Measure 5 is filler material that reminds me of kids laughing and having fun.

The pickups to measure seven begin a section of imitation where three different kids are exploring smaller slides. This continues all the way to measure 17.  Measures 18, 19, and 20 use an extended version of the rising climbing motif as excitement builds to trying bigger and bigger slides. Measure 25 introduces a new variant of the slide motif where downward slides are piled closer together creating even more intensity. Measure 31 brings the listener to the biggest slide that climbs even higher and takes longer to descend. Measures 39 and 40 is a short coda using both the climbing and sliding motifs.

Your comments are always appreciated.

Dr. B

Sunday, March 22, 2015

Playground Movement 1 - Seesaw

This is the is the first movement of a three movement composition for Drei Bones ( a trombone trio) called Playground by Sy Brandon. The other movements will be called Slides and Swings.

I began the movement with a two measure syncopated figure that I refer to as the "playground motif." This figure and variants of it serve as a means of linking various seesaw users similar in concept to Mussorgsky's Promenade in Pictures at an Exhibition, but on a much smaller scale.

What I am trying to musically represent is the ups and downs of a seesaw. I was surprised by the number of different ways that I was able to do this and each section represents a different type of seesaw user. The A section (measures 1-14)  is the more aggressive type of seesaw user. Its rhythms are snappy and the dynamics loud. The B section (measures 15-24) represents those users who are laughing and having a good time. The rhythms are even, the articulation staccato, and the up and down idea is represented in a single line. Measures 25-50 is the C sections which is more flowing representing a romantic couple enjoying the ride. The dynamic is softer and the rhythmic activity is at a slower pace.

The movement is in an inverted arch form ABCBA. I refer to it as inverted because the climax of the form occurs at the beginning and the end and the middle sections are more relaxed.

The movement ends with the person at the bottom getting off suddenly causing the person at the top to plop to the ground.

Thursday, January 29, 2015

Antics for Elementary Band - Movement II - Squirrels in a Park

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 31, 2015. For more information about the consortium, please visit http://www.cooppress.net/page9/page385/index.html

The second movement of this two-movement composition is "Squirrels in a Park."The overall tone of this movement is playful. Two measures of a repeated staccato chord serve as an introduction to the playful theme that consists mainly of rising and descending arpeggios. This section repeats at measure 11. An 8 measure contrasting section, beginning at measure 19, is in the subdominant tonality of Eb. Measure 27 brings back the A theme.

Picture a squirrel cracking a nut in this next section that begins at measure 35 with a wood block solo. This section is in C major. A modulation towards the end of the section brings the band back to Bb major for a repeat of the A section. Measure 60 begins with two measures of a repeated staccato chord like the introduction, but this time in Eb major. The melody is legato accompanied by staccato chords. I envision squirrels playing in trees during this section.

The "nut-cracking" section comes next before a return of the opening AABA material that has a little surprise as part of the ending. The overall form is AABACADDCAABA. Articulations, tonality shifts, and instrumentation are the major components that provide variety in this otherwise unified 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. 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

Monday, January 19, 2015

Amphibians for Band Movement II

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.

Here is the poem I wrote that can be read by a narrator before this movement:

II. Salamanders

Salamanders and lizards look somewhat the same
Both have slender bodies and very long tails
But salamanders are unique the scientists exclaim
How so? Please provide us with some interesting details

Did you now that they can regenerate their limbs
And some can absorb oxygen through their skin?
Researchers are examining the methods they use
To help humans heal like their amphibian kin

Many salamanders are endangered and that’s very sad
Pollution, climate change, and human behavior the cause
The lack of respect for our Earth makes me mad
Conservation efforts are helping, but we need tougher laws

This movement is a tribute to these marvelous creatures
It skitters along in a salamandering way
With moments for reflection the slower sections feature
Ending with hope that they won’t fade away

I decided to use a chromatic 4 note motif to represent the swimming salamander. This motive is very present throughout the first 16 measures (A Section) and this section repeats. At measure 17, the B section begins by developing the motive by just using two notes in a repeated pattern. Measures 25-32 do the same thing but a step higher therefore adding some tension. The 3/4 measure at 32 adds a little rhythmic variety. The A section returns at measure 33 and is extended before slowing down to the Andante at measure 49.

Before discussing the next section, I want to mention that I came across a special video about salamanders while doing some research about them. https://www.youtube.com/watch?v=icvo6zxLpFM This video showed the variety of these animals and their importance to humans. It also mentioned their endangerment and conservation efforts. I was very moved by this video and decided to musically portray the endangerment and hopes for conservation as part of this composition.

Measures 49 - 73 constitutes the C section of the movement. It is in a slow 3/4 and its main melodic material consists of descending scales and intervals representing concern of the salamander's endangerment. This section also contains a rising chromatic line in quarter notes that is a transformation of the scurrying descending chromatic idea of the A section. It is more sluggish and represents the salamander's battle for survival. The tempo speeds up between measures 74 and 81 returning us to the A section once more.

Measures 98 to the end (Section D) are more triumphant, celebrating the fact that conservation efforts are working. It is primarily in 2/4 with some 3/4 measures added for variety. The chromatic swimming motif is used in several places during this final section.

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, January 14, 2015

Antics for Elementary Band - Movement I - Dolphins in an Aquarium

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 31, 2015. 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. Other rising leaps throughout the movement also represent the leaping dolphins.

The form of the movement is ABA'CA''. The A sections use the swimming motif and the rising pyramids. The second A, which occurs at measure 24, reverses the order of these two ideas with the rising pyramids occurring first. The third A contains a rhythmic variation of the swimming motif by having it occur in 3/4 instead of 4/4. The B section at measure 16 offers contrast by being softer and more legato. One can think of these majestic animals swimming. The C section at measure 37 is similar to the mood of the B section, but also contains an eighth note rhythmic drive that anticipates the excitement of the final A section. The xylophone in the C section does some "dolphin leaps" during the sustained notes of the melody.

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