Composing Insights

Poetics Movement 3

2012-01-23T07:35:00.000-07:00

A triolet is the inspiration for the third movement and it is the first rhyming poem that I am including. There are 8 lines in this pattern; A, B, rhyme with A, A, rhyme with A, rhyme with B, A, B. Once more I used one of my own poetic creations for the programmatic aspect. It is a triolet about creativity and it reflects the creative process of my wife, Anita, when making polymer clay jewelry.

Creativity Triolet by Sy Brandon ©2011 Sy Brandon

Ladybugs upon a leaf
Or a monarch butterfly
Nature's colors, my belief
Ladybugs upon a leaf.
Creating jewelry can give me grief
But mostly I get high.
Ladybugs upon a leaf
Or a monarch butterfly.

I am free with adhering to both the line delineation and the rhyme scheme of the poem. The double bass begins the movement with serene arpeggios in fifths and fourths reflecting the serenity of nature. The viola flits about like a lady bug or butterfly from m. 2-9 representing the first two lines of the poem. M. 10 - 21 reflects the third line with a soaring idea that is treated imitatively and chromatic passage that moves in contrary motion. M. 22-27 uses the first part of m. 2-9 to create a rhyme A.

M. 28-34 has both a change of tempo and meter. There is no evidence of rhyming with A as the musical material is very different because it is reflecting the building of frustration when one tries to create and it is not going well. The repetitive viola sextuplet, the enlarging of the double bass chords, and the growth in dynamics are all symbolic of the trial and error process of creativity. M. 35-40 represent line six with a lyrical melody and implied lush harmony. The softening of the dynamics at the end of this section is a relaxation of the high before repeating M. 1-9 (the first two lines of the poem) and arriving at a pleasing, quiet ending.

I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.

As always, your comments are appreciated.

Dr. B

Poetics Movement 2

2012-01-22T09:19:00.000-07:00

The second movement is based on the Shadorma poetic form. Shadormas have 6 line stanzas where the lines have a syllable count of 3,5,3,3,7,5 respectively. I translated the syllable count into meter therefore creating 3/8, 5/8, two measures of 3/8, 7/8, and 5/8 resulting in 6 measure phrases.

This movement is also programmatic representing another poem I wrote, but this is done in reflecting the general spirit of the poem rather than each line, like I did in the first movement. Here is the poem:

Disparity Shadorma by Sy Brandon ©2011 Sy Brandon

Millionaires
Are on the increase
People starve
In the Streets
While fat cats count their dollars
In oblivion.

We protest
In the parks and streets
Occupy
Wall Street grows
Sending a message to all
About Disparity.

Various key ideas of the poem are represented by musical elements. The double bass opens the movement with a melodic idea that represents the rich. The viola takes over the melody at m. 7 accompanied by sparse double bass staccato representing the poor. M. 13 has both parts in imitation as if the trailing voice is trying to catch up to the leading voice, but never can. M. 19 begins the protest leading to the anger being expressed from M. 25-36. M. 37-72 repeats the opening ideas with slight variation. At M. 73, the ideas begin to fragment as the protests are being shut down and the movement ends quietly leaving the listener wondering if we have made any inroads towards erasing disparity.

I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.

As always, your comments are appreciated.

Dr. B

Poetics Movement 1

2012-01-22T07:41:00.000-07:00

It has been about two months since I have posted. During December, I was very busy with playing jobs and then my wife and I went on a four-week camping vacation ending up in the Phoenix area for rehearsals and a performance of my Arizona Centennial Overture by the Arizona Wind Symphony.

During my vacation, I got started on composing "Poetics" for the Dark Strings Duo consisting of Heidi von Bernewitz, viola and Rob Nairn, double bass. I took a class on short form poems during the fall through the Osher Lifelong Learning Institute at Yavapai College and had fun learning the forms and writing some poetry. This inspired me to try to translate some of these forms into music.

I started with a poem form known as a pleiades which has seven lines with six syllables per line. Each line starts with the same letter. I translated this into a music form by having seven phrases, each with six notes and all starting on the note "A". In addition, I used one of my poems as a interpretive inspiration so that the phrases represent the ideas of the poem. Here is the poem:

Acceptance Pleiades by Sy Brandon ©2011 Sy Brandon

Aching hearts long for peace

Among troubled chaos

Answers seem elusive

Always a step ahead

Avoiding outreached hands

Away I turn from them

And then they come with ease.

Like most composers, I took liberties with the musical form. The viola's first six notes reflect the first line and the pizzicato notes in the double bass in measure 2 add punctuation. The second line begins immediately afterwards in the viola and is imitated in the double bass resulting in four versions of the idea (end of m. 2 to the end of m. 4) with only the first two starting on "A". In m. 5-6, the viola reflects the 3rd line of the poem. It does not start on "A", but the accompaniment in the double bass does. The line "Always a step ahead" is represented through pizzicato displacements between the two instruments starting at m. 7, each six notes long. This occurs three times, each one starting on "A" but the lead is alternated between the two instruments and the rhythm varied. M. 13-17 contains lines 5 and 6 of the poem, both in the viola and both starting on "A". The double bass plays free material that compliments the viola line. The last line of the poem is reflected from m. 18 to the end. It starts and ends on "A". I tried to let the form and the poem guide me but not restrict me.

Starting with this blog post, I am using flip pdf technology. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/poetics_blog.html.

As always, your comments are appreciated.

Dr. B

Interplay Movement 3

2011-11-25T13:22:00.000-07:00

I was recently sent a link to a story about a music prodigy, Jay Greenburg, who has the ability to hear an entire composition in his head completely scored and all he needs to do is to notate it. That process can take him around two hours. I compare this to how I compose, especially during the composition of Interplay, and we are not even in the same league. My process involves getting an idea, seeing where it wants to go, wondering where it is going to lead me, writing a measure or two at a time, filling in other parts, reviewing what I have written often, and making changes to what I have written earlier based upon what has come after it. When the composition is completed, I'm amazed at its balance, direction, craftmanship, cohesiveness, and variety, because it certainly doesn't feel that way during the composing process.

I mention all this because while I am pleased with the results of Interplay, it felt like a struggle almost the entire time. In fact, once the third movement was completed, I made a few minor changes to the other two movements.

The third movement actually came a little easier than the previous two because of my approach to the interplay. Instead of relying heavily on counterpoint between the instruments, this movement is more of an interplay between sections of the piece and its instrumental color. I set out to write a Rondo and wanted the movement to be lighter in nature to contrast the more serious nature of the first two movements. The movement is sort of a Rondo, but took on a life of its own.

The movement begins with a two-measure bassoon introduction that establishes the meter changes and uneven meter feel that will be used as the basis of humor in the movement. It is answered by a four-measure tuba and piano section that changes between 2/4 and 3/8. These measures continue to alternate with the bassoon melody establishing the A section (measures 7-34). At measure 21, the piano and bassoon play the idea in imitation.

The B section goes from measure 35 - 54 and also has an uneven meter feel but in a different pattern. The tuba has the B theme first and then it goes to the bassoon.

The A section returns in measures 55 - 83 with a different scoring; piano first then bassoon.

Measure 84 ushers in the C section mostly in 3/8 but with occasional different meters inserted. It is more lyrical than the other two previous sections and the melody is a three-phrase group. The melody and harmony contain both 4ths and 3rds. The three-phrase group repeats two more times, each time with instrumentation changes, increasing counterpoint, and more intensity of dynamics. It climaxes at measure 147 before transitioning back to the B section instead of the expected A section of the Rondo. It is followed by A, therefore creating almost an arch form (ABACBA). At measure 200, the C section returns with even more counterpoint than its original statement. The Coda gives us a hint of the A section before fading away into silence that is broken by a loud final chord.

To see and hear what I have discussed, go to http://www.cooppress.net/interplay_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Interplay Movement 2

2011-11-14T14:18:00.000-07:00

While I am please with the second movement, it was once again a piece that did not flow easily from beginning to end. While the ideas came easily enough, the needed a lot of editing to help the movement flow.

This movement is in three sections creating an ABA' form. The B section is divided into an A A' A'' A.

The opening A begins slowly and expansively, utilizing melodic intervals of mainly 4ths and harmonic intervals of 4ths and 5ths. The interweaving or interplay of the tuba and bassoon begins at measure 9, while the piano continues the open harmony. A three-measure chromatic adventure contrasts the openness of the earlier material and leads to a new tonality at measure 19 where some of the earlier material is repeated in this new tonality. The piano takes over the interweaving before going to the chromatic wandering, slightly extended.

A plaintive bassoon ostinato begins the B section. The tuba states the main melodic idea that will be transformed in this section. It is interrupted by a staccato arpeggio figure that will continue that role throughout this section. The bassoon takes over the next statement of the thematic idea and then the bassoon and tuba play it in harmony. This statement transforms the 6/8 meter to 7/8. A climax is reached at the end of this section before returning to a quieter, rhythmically altered version with the ostinato in the piano left hand and the melody in the bassoon.

A recapitulation of the opening A occurs with subtle transformations. The movement ends quietly with some lush chords that move to a more open sound in the piano.

To see and hear what I have discussed, go to http://www.cooppress.net/interplay_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Interplay Movement 1

2011-11-03T13:10:00.000-07:00

Hello Readers,

I am in the process of composing a composition for the Maxwell Trio to take to the International Double Reed Society Conference in 2012. The Maxwell Trio consists of Susan Maxwell, bassoon, Steve Maxwell, tuba and Amanda Arrington, piano. All are professors at Kansas State University.

This instrumental combination has inherent challenges stemming from the abundance of overtones present in the bassoon and tuba sound. I know from my experience in writing for tuba ensemble that dissonances sound muddy on instruments with a lot of overtones, so my harmonic style for this piece is quite conservative. So my challenge was to create an interesting piece within that restriction.

As I was composing the piece, the title "Interplay" came to me as there is a lot of counterpoint between all three instruments. I usually try to post sections of a piece while I am composing it, but with this composition I was very unsure of where things were going, and even if it was of value. I struggled because I could not find any direction or form out of what I was composing. I felt that the ideas were good and some sections were better than others, but it just did not make any sense. After stepping back for a while, I realized that I needed to add more to the opening section and after doing that, it became clearer that I was writing a sonata form of sorts.

I say "of sorts" because all the thematic material seems somewhat related so I feel that it is more monothematic than having two themes. The contrast between the themes is created more by treatment, with the first theme being staccato and the second theme being lyrical, rather than by new thematic material. Here is my analysis of the form:

1-4 - Introduction
5-27 - 1st theme
28-34 - transition
35-48 - 2nd theme
49-57 - closing theme
58-113 - development
114-168 - recapitulation
169-end coda

I think that gives you enough to go on without my analyzing the treatment of the various motifs. There is a lot of interplay that you will be able to hear and that, and the form is enough to concentrate on.

I think you will see what I mean by overtone rich instruments causing problems if you listen to the scorch version. You can see the score, but the sounds of the bassoon and tuba are horrible. I remember about 10 years ago purchasing Smart Music for my wife and myself. Smart Music is suppose to follow the soloist adjusting the speed of the accompaniment when the soloist plays into a microphone. But it never did. When I called the company, they said that oboe (my wife's instrument) and tuba (my instrument) are the most difficult for the microphone to recognize because there are so many overtones, the mic doesn't know what note you are playing. So I gather that the MIDI instruments playing the scorch file are inadequate because of the amount of memory needed to accurately contain all the overtones of a bassoon or tuba. The mp3 is a more realistic audio experience since it uses sampled instruments.

To see and hear what I have discussed, go to http://www.cooppress.net/interplay_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Peace and Joy for cello and piano

2011-09-24T07:23:00.000-07:00

My best friend for over 55 years is Bob Feinberg, a chiropractor who lives in Columbus, GA. He was a professional trumpet player for many years and has been teaching himself piano and now cello. A few weeks ago, he asked me if I had written anything for cello and I told him that cello is one of the few instruments I haven't composed a solo for and that I may get inspired to write him something. Peace and Joy is a result of that inspiration and is dedicated to Bob Feinberg.

When I think of my friend Bob, the first two words that come to mind are "peace" and "joy". Bob has devoted his adult years to healing the mind, body and soul. He is a caring and loving person and through his work and his personal life, he shares his love unconditionally. I believe that unconditional love is the key to peace and that is the feeling I get whenever I am around him. Bob also exudes joy. All one needs to do is to listen to him play piano and joy comes through immediately. Being a professional musician most of my life, joy is often lacking in a lot of things I do. Whenever I start feeling that way, I think of Bob playing piano and it immediately changes my outlook.

Because Bob is a beginner regarding cello technique, I limited myself to notes only playable in first position and kept most of the cello part diatonic in either the key of G (e minor) and C. My challenge was to make the piece interesting within the limitations.

I chose a triple meter of 6/8 for the first part of "Peace" and the harmony has some 7th chords, non-chord tones, and borrowed chords. At M. 11, the piano takes over the melody and the cello plays an obbligato line. At M. 19, the meter changes to 2/4 with the eighth note remaining constant. This section becomes more intense through chromaticism. M 27 contains a four measure canon between the piano left hand and the cello. The ending returns to the 6/8 with the insertion of one 4/4 measure near the end.

The second movement begins in e minor and moves to G major at M 17. The dance-like theme goes through several transformations with the most interesting being the use of syncopated stop-time to break up the steady rhythm. At M 45, a lyrical theme is introduced while the piano continues the syncopation and staccato dance style. The lyrical theme is interrupted by the syncopated stop-time section once more before bringing the movement and the piece to a rousing close.

To see and hear what I have discussed, go to http://www.cooppress.net/Peace_and_Joy_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Songs of Youth for Baritone Voice and Guitar

2011-09-12T07:58:00.000-07:00

I was commissioned to compose a composition for Baritone Voice and Guitar by David Asbury, guitar and Bruce Cain, baritone voice, both of Southwestern University. When this opportunity came along, I immediately thought of one of my favorite compositions that was composed in 2000 for baritone voice and piano and has yet to be performed. I asked David and Bruce whether they would be okay with my rewriting the piano part for guitar and taking the baritone piano version out of circulation so that they could premiere the composition and they responded enthusiastically.

The poems for Songs of Youth were written by my best friend for over 55 years. Bob Feinberg is a chiropractor who lives in Columbus, GA. He was a professional trumpet player for many years and has many other talents including poetry.

The first poem, Loneliness, deals with going away to college and being unhappy. The setting of this poem includes blues-like sections alternating with more happy sections reflecting his thoughts when returning home. The song plays out like a mini-opera with its dramatic imagery.

The second poem, Jazz Heaven, is quite short. It reflects the joys of spending weekend evenings listening to the jazz greats on recordings. A bluesy triple meter is used for this movement.

The last poem, Carmine, reflects the excitement and joy of taking a trumpet lesson with Carmine Caruso. As the text reflects, Carmine was an extraordinary teacher who could draw the best out of everyone. In many ways, the poem honors all the great teachers who have influenced our lives.

In addition to writing the piano part for guitar, I changed the tempo of the last movement to make it less frantic. I will make that change in the piano version as well.

I found writing for guitar quite challenging. I have written for guitar before, but I do not play it and have never studied it. I have learned a few things by hearing my other guitar compositions rehearsed and performed and I hopefully carried that over into this composition. For instance, in voicing chords, I had a fingering chart in front of me and I tried to replicate the finger positions. I used a lot of wide spacing of chords as this seemed to make the fingering easier. I also have some concern regarding some of the contrapuntal lines regarding playability. I hope that David will make suggestions as he works on the piece.

Regarding the voice part, that remained the same as when I composed the piece in 2000. It is quite tonal so finding pitches should not be a challenge. There are some long phrases so deciding where to breathe will be important. There are also spots where the notes go by rapidly so diction will become a challenge. The voice will sound almost percussive in sections instead of sustaining lots of vowel sounds. I an anxious to hear Bruce's comments and performance to see if what I was hearing works.

To see and hear what I have discussed, go to http://www.cooppress.net/Songs_of_Youth_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Phantasie on Singaporean Folk Songs Mvt. 3 now Mvt. 1

2011-08-21T07:46:00.000-07:00

Last week I received some brief comments from May Phang regarding the first two movements and I found them useful in formulating a style and treatment for this last movement. Upon completion of this movement, I realized that this would be a better first movement and my previous first movement, a better ending movement. The only thing I felt I needed to change was the ending, as it wasn't strong enough for a final movement.

After inquiring how many movements would there be, May's comments were as follows : "Would it be possible for some movements to be less angular in style, and more fantasie-like? (e.g. fluidity of line, blend of harmonies and colors)." I felt that the second movement accomplishes a lot of this and I believe that she was mainly referring to the fast movement that was the former first movement.

My original intent for the last movement was to not reveal the folksong "Munnaeru Vaalibaa" in its entirety until the end of the movement, using motives from the song in a developmental fashion leading up to it. But that intent changed after reading May's comments and I created my own extended melodies out of parts of the folksong. By the way, you can hear what these folksongs sound like by searching for them on youtube. I did use the fragments for the introduction (m. 1-12) that has sustained arpeggios with different motives occurring as an answer to the arpeggios.

M. 13 begins my original melody based upon the first two measures of the chorus of the song. It is accompanied by triplet arpeggios and modulates from G major to the mediant key of B major after 8 measures. At M. 30-45, some of the motives of the verse of the song are used as the basis of my second theme. This theme is accompanied by 16th note scales and arpeggios. This section modulates to remote keys almost every four measures. It winds down to an interlude beginning at M. 46 than is thinner in texture and uses 4/4 alternating with 3/8.

M. 61 begins an intense development section that uses a motive from the introduction to the song. At first the motive is accompanied by triplet arpeggios, then two-part and three-part imitation of the motive occurs. The modulations to remote keys occur almost every two measures at times.

At M. 86, the 4/4 3/8 interlude returns but incorporates the three note motive from the previous section and expands it at M. 93. M. 100 brings back the material from M. 13-60 in a slightly varied form. M. 134-155 serves as a second development section, once again using similar material as the first development. M. 156 begins a presto coda using the syncopated figure from the verse section interspersed with swooping arpeggios.

Indicating pedaling became very important in this movement and I reviewed the other two movements for pedaling as well. Any changes I made now appear in the scores that are posted. There were times where pedaling wouldn't work because of needing clarity of line in one of the hands. In those instances, I used ties to indicate sustaining. My only concern is that all the ties make reading the notation more difficult, but I couldn't see any way around it.

To see and hear what I have discussed, go to http://www.cooppress.net/Phantasie_on_Singaporean_Folksongs_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Phantasie on Singaporean Folk Songs Mvt. 2

2011-08-14T07:01:00.000-07:00

For movement 2, I chose Di Tanjung Katong for the basis of this movement. I heard two different versions on youtube, one was slow and the other fast and I preferred the slower performance as it was hauntingly beautiful. Once again, the beauty of the music lies in its simplicity of melody and harmony and I wanted to preserve that quality, yet put my own individual stamp on it.

The first thing I did was to change the meter from 4/4 to 7/8 to give it a slight "lilt" quality. In addition, the opening is rubato, which further disguises the strictness of tempo. This becomes the opening A (m. 1-17) of an ABA form.

The B section is a passacaglia (m. 18- 49). I created passacaglia theme from the melody of the first eight measures by taking only the most essential notes (creating an outline of the melody) and changing the meter to 6/8. I then build a set of four variations on top of the passacaglia theme. A concern arose after I completed this section regarding the regularity of the rhythm. I went back and put more dotted notes in and that help solve the problem. The climax of this section and the movement is the minor/chromatic passacaglia variation at m. 42-49.

The final A section elaborates the 7/8 treatment of the theme with flourishes and triplets before ending with a slower version in a lower register.

To see and hear what I have discussed, go to http://www.cooppress.net/Phantasie_on_Singaporean_Folksongs_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Phantasie on Singaporean Folk Songs Mvt. 1 now Mvt. 3

2011-08-10T07:50:00.001-07:00

Hello readers,

It has been two months since I have posted and during that time I was taking a break and also working on several arrangements. I am excited to be back composing again and especially excited about composing a piece for the wonderful pianist, May Phang. Dr. Phang was born in Singapore so the idea of using Singaporean folk songs as the basis of this composition appealed to both of us.

The first movement uses the Malay children's song "Chan Mali Chan" that has become a Singaporean national song. This song is quite simple in structure and harmony, yet there has plenty of material for me to create with. The song's structure is simply AB. The first part has two phrases, each beginning with repeated notes followed by step-wise motion. The first phrase ends on the dominant and the second phrase on the tonic. The B section begins on the subdominant and has three measures of repeated notes followed by step-wise motion. This phrase then repeats.

I begin the composition with a chromatic flourish and then proceed into a rhythmic ostinato. Both are used throughout the movement. The first statement of Chan Mali Chan maintains the formal integrity but interrupts the phrases with both the chromatic flourish and the ostiniato. The harmony is very nontraditional. I once had my "Dance Etudes" for euphonium reviewed in a journal and the reviewer said the etudes are quite traditional tonally but every once in a while there are things that sound like wrong notes. I would not have used the word "wrong" if I was writing the review. The notes were mainly unexpected by the ear as they were often borrowed from other tonalities and modalities. I mention this because I used a similar technique in the first appearances of Chan Mali Chan (m. 4-36). I'd be interested to see whether you feel the notes sound "wrong." What follows is a set of transformations of the material as described below:

m. 36 - 63 - Canonic treatment of both A and B with ostinato interruptions. The canon moves from two beats apart to one beat apart on the last phrase.
m. 63 - 93 - Scherzando treatment of repeated motif and change to triple meter for the step-wise motif. Chromaticism is introduced as the transformation progresses, taking over in the B section of the song.
m. 93-115 - The scherzando continues but departs even more from the song by changing the repeated motif into a trill-like figure and alternating 5/8 and 6/8 meter. In this transformation, only the A section is used.
m. 115 - 131 - This section is a minor variant and is marked appassionata with an arpeggiated accompaniment. It is quite traditional in terms of chord progression.
m. 132 - 147 - I mark this transformation giocoso as it is quite playful. It uses a lot of octave and rhythmic displacement of the A part of the theme.
m. 148 - 163 - This sections varies the B section of the theme and uses mainly 6/8 meter. The two 16th note two 8th note figure becomes a second ostinato and will play an important role in the next section as well.
m. 164 - 190 - Canonic treatment similar to m. 36 - 63 but the new ostinato interrupts the phrases. Once we arrive at the B part of the theme, the tempo starts to gradually increase.
m. 191 - 207 - This transformation begins with a syncopated figure that will grow in importance until the end. The folk song is stated in octaves accompanied by technical flourishes and the syncopated figure.
m. 208 - end - This transformation serves as a coda. It is in a faster tempo, uses the syncopated idea, and lots of chromaticism.

To see and hear what I have discussed, go to http://www.cooppress.net/Phantasie_on_Singaporean_Folksongs_blog.html. You can view and hear the score if Scorch is downloaded on your computer and/or listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Cycle of the Spheres Movement 3

2011-06-09T09:57:00.000-07:00

The third movement came together very easily. In order to prepare myself for writing this movement, I listened to some youtube performances of taiko drumming and read about its history. In many cultures including Japan, drumming seems to have a spiritual connection and since this movement is called "Resiliency of the Spirit", I decided to build the movement around the characteristics of taiko drumming.

I used tom-toms with heavy sticks in order to come close to the taiko drum sound and if the percussionist has access to a taiko drum, that would be even better.

The movement is divided into three sections. The first is an introduction for drums alone where the "leader" sets the mood for the fast drumming to follow by starting slowly and accelerating. The accelerando is written out by increasing the number of notes per measure until the tremolo in measure 9.

The Vivace begins the second section. This section is an interplay between the three instruments and the saxophone and piano are treated percussively by their notes being repetitive and staccato while still suggesting a primitive melodic line. This section is canonic for the most part, but every time it comes back, there is a slight variation by either varying the lead voice or the distance between entrances. To break up the countrapuntal sections, I use a short call and response idea at measure 29 and later at Measure 76. The saxophone does the call and the piano and percussion the response.

The third section begins at measure 50 and is a lyrical, hymn/folk-like melody over the contrapuntal "drumming". This section builds in intensity by changing tonal centers but still uses the pentatonic scale.

To see and hear what I have discussed, go to http://www.cooppress.net/cycle_of_the_spheres_blog.html. You will be viewing the playback file which is a transposed score, but has notation inaccuracies to accomplish a more realistic playback.The playback also uses MIDI instruments on your computer that has a different balance and playback than the sampled sounds of the software. For the most accurate playback, listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Cycle of the Spheres Movement 2

2011-05-29T08:30:00.000-07:00

For the second movement, "Ashes to Ashes", I used the same two pentatonic scales for consistency of harmonic language, but I did not use these scales in a polytonal manner like in the first movement. Since I was looking for a much more mellow sound, there is a larger emphasis on harmony in this movement. To create the tonal interest, I would often slide step from one pentatonic scale to the other. I also was looking for other ways to create tonal interest and found myself attracted to a transposition of the CDEAG pentatonic scale to the FAGCD pentatonic scale. This simple transposition created one new note, F instead of E, and when these scales are used in close juxtaposition, new harmony results as in measures 30 and 31. I intend to explore this transposition and others further in the third movement.

The percussion colors I chose are ocean drum, triangle and tom-toms. The tom-toms are only used in measures 26 and 28, at the climax of this movement. They serve as a prelude to the last movement where they will play a larger role. My intent is to have them sound like Haiku drums.

I also found myself attracted to passages of even eighth notes in this movement. The evenness of the rhythms give the movement a meditative quality.

The form of this movement is ABCC'A' and the sections correspond with the rehearsal numbers. The opening and ending sections are mournful with the B and C sections expressing hope.

To see and hear what I have discussed, go to http://www.cooppress.net/cycle_of_the_spheres_blog.html. You will be viewing the playback file which is a transposed score, but has notation inaccuracies to accomplish a more realistic playback.The playback also uses MIDI instruments on your computer that has a different balance and playback than the sampled sounds of the software. For the most accurate playback, listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Cycle of the Spheres Movement I

2011-05-22T08:06:00.001-07:00

This was an intense movement to compose and I had to work at it in short spurts as I found it mentally and emotionally draining. However, I am pleased with the results and I feel that it conveys the horror of living through an earthquake and a tsunami.

I was also dealing with several playback issues that needed to be resolved. The Sibelius software's playback is quite good for traditional notation, but lacking for special effects. There may be solutions that I am not aware of, but I'd rather spend my time composing than researching these solutions. I rely on my inner hearing and I hope my readers can do the same.

In order to have the playback somewhat realistic, the notation needed to be inaccurate. I plan to create two files, one for playback and the other for notation. The Scorch playback file you will be viewing is the playback file. In this movement, I want to use a thin book laid across the lower strings to try to produce a plucked sound of a koto. The only way I could get Sibelius to play this sound back was to change the piano left hand to the koto, which in turn put the piano left hand into treble clef and wrote the notes an octave higher than where they sound. I want the one percussionist to start out on wind chimes and had to use a separate staff in order to have this sound played back. Lastly, I have the saxophonist bending pitches like a shakuhachi would do, but Sibelius does not play these pitch bends.

My harmonic and melodic material for this movement is derived mainly from a pentatonic scale. There is the black key version of Db,Eb,Gb,Ab,Bb and the white key version of C,D,E,G,A. The other material used derives from the saxophone multiphonic that first occurs at measure 24. The characteristic augmented 4th and minor 9th are used for both harmonic and melodic material later on.

Measures 1-20 is the serene section with only hints of the earthquake to come with the bass drum rolls. Measure 21&22 reflects startled cries of horror as people begin to feel the earthquake. Measures 23-29 is the actually earthquake. Both pentatonic scales are used simultaneously creating a polytonal dissonance. Added to that is the saxophone multiphonic that creates yet a third tonality. The piano echoes the saxophone multiphonic in the left hand. Measure 30 begins an Allegro section that first depicts the scurrying for survival (m. 30-40) and then the Tsunami with its tidal swells (m. 41-48). The dynamics, rising and falling triplet figures, and suspended cymbal roles help create the effect of the powerful rising waters. At measures 49-57, the water recedes leaving behind the massive destruction and loss of life. Measures 58 to the end serves as an epilog to the earthquake and tsunami reminding us that the survivors must still go on and rebuild their lives.

To see and hear what I have discussed, go to http://www.cooppress.net/cycle_of_the_spheres_blog.html. You will be viewing the playback file which is a transposed score, but has notation inaccuracies to accomplish a more realistic playback.The playback also uses MIDI instruments on your computer that has a different balance and playback than the sampled sounds of the software. For the most accurate playback, listen to the mp3 file.

As always, your comments are appreciated.

Dr. B

Cycle of the Spheres

2011-05-14T10:51:00.001-07:00

Saxophonist, James Barger commissioned me to write a composition for saxophone, piano, and percussion to honor those who lost loved ones in the March 2011 earthquake and tsunami in Japan. The title. “Cycle of the Spheres”, reflects both the living earth upon which we live and the fortitude of humanity.

Mr. Barger suggested a three-movement composition with the first movement depicting serenity interrupted by bombastic resemblances of earthquakes and tsunamis. I recently attended a presentation on earthquakes and tsunamis and learned that Japan is situated directly above a subduction, where the earth’s crust underneath the sea is constantly recycled downward below a continental landmass. These areas are particularly prone to strong earthquakes and their resultant tsunamis. I decided to title this movement “The Living Earth” as our planet is still evolving by constantly building up pressure and releasing that pressure in the form of earthquakes and volcanoes. I remember reading Harold Kushner’s “When Bad Things Happen to Good People” and recall him saying that if we challenge natural forces, it can result in dire consequences. When our species builds civilizations on top of naturally occurring active faults, disaster is bound to occur.

Mr. Barger’s suggestion for the second movement was a hymn song for the souls of the dead. My title for this movement is “Ashes to Ashes” as it fits with the composition title by representing a different cycle, one of death and rebirth. The souls of the departed live on in the memories of the living.

A song of redemption and hope for the survivors was Mr. Barger’s request for the third and final movement. I decided to title this movement “Resiliency of the Spirit”. One of the things that impresses me the most about human beings is their ability to go on in spite of adversity. I see this constantly with my loved ones, friends, and my brothers and sisters throughout the world. I never cease to be amazed by the strength of the human spirit and it is the cycle of joy growing out of sorrow that creates another sphere that gives us all hope for the future.

I do not usually write descriptive notes for a composition before composing a piece, however this plan and its titles will hopefully enable me to write a composition worthy of the tragedy, sorrow, and idealism that has been felt throughout the world from this colossal event.

Revisions to Meditation and Festive Celebration and American Vignettes

2011-05-02T10:12:00.000-07:00

It has been a while since I have posted because I have been busy creating some compositions to enter into competitions. Since these are being judged anonymously, I do not feel comfortable posting anything about them here.

I also have been following through on several recording projects and doing refinements regarding compositions recently composed. I like to share comments from the artists and my solutions as it illustrates the collaborative nature of commissions and one of the benefits of having a piece composed especially for you. It also illustrates how composers can learn from artists and how the same artistic intent can be achieved without complicating the performers life more than necessary.

Meditation and Festive Celebration is composed for Clarinet and Organ and it was premiered April 6, 2011 by Andrew Seigel and Jihuyn Woo. I received the recording and decided to make some changes as follows:

I felt that the organ part was too thick and cluttered in some spots during the Festive Celebration. Below are the changes I made to the organ part:

M. 4, 9, 31, & 36 I put the left hand on the beat on beats 1 & 2 to have a stronger down beat in those measures.

M. 14, 15, 20 & 21 - I made beat 4 a quarter note instead of syncopated.

M. 5, 6, 8, 32, 33, 35 - I made the harmony less thick and made the technique smoother so the quarter note can be sustained full value.

M. 10, 11, 37 & 38 - I eliminated the chords on beat 1 & 2.

I think these changes improve the piece.

I did not post these changes, but if you want to hear the work before these changes, go to http://www.cooppress.net/Meditation_and_Festive_Celebration_blog.html. You will be viewing a transposed score.

The other work I did some revision to was American Vignettes for Brass Quintet being composed for the Lyric Brass Quintet at Pacific Lutheran University. Here are their comments and my solutions:

Gina: My only horn-specific comment is that we found that the horn could be heard much better and sounded more horn-like when I played a few more bars up an octave in the fifth movement. These parts are the beat before 18 through the third beat of 19 and the last beat of 21 through 25.

Me: Movement 5 - all up the octave at the places you suggested except m. 24, the first 2 1/2 beats. The trumpet has the melody here and keeping the Horn down helps the blend.

Matt: In the 1st trumpet part the problematic bars are 56,58,116, and 118 in the first movement. The 56 and 58 are doable, but barely, and may require a slower tempo for the whole piece. The 116 and 117 cannot be executed at a tempo appropriate to the piece. If they could be made less disjunct the sextuplet rhythm is not a problem. So many intervals wider than a third at that tempo is beyond my abilities.

The licks as 116 and 117 could be made playable by breaking them up between the two trumpet parts. If the pattern were 3 sixteenths/dotted eighth in alternation between players then we could play something more disjunct and faster than an individual could play in streams of sixteenths.

Me: Movement 1 - simplified the technique in m. 56 & 58 and divided the line at m. 116-117 between the 2 trumpets but by every beat - I hope this makes it more playable.

Paul: The only issue I have is the overall sharps key of the tuba movement. One of those passages is really tricky on Eb tuba (which I play). If Sy doesn't want to mess with it, I can make do. But if possible, it would be much easier if it lies in a flat key.

Me: I took the entire tuba movement down a step. As a result, some trumpet parts went up an octave as well as a few measures in the trombone.

Once again, I did not post new versions of these revisions. To see and hear the unrevised versions, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

I hope this dialogue of the process is helpful to my readers.

Dr. B

Definition of Music

2011-03-31T16:56:00.000-07:00

During my tour, I have been lecturing about the future of artistic music in the 21^st Century and as part of that lecture, I ask my audience what their definition of music is. The number of music students who haven’t thought deeply about this and generally accept John Cage’s definition of “organized sound” without much questioning surprises me. Cage’s definition is good, as it is very inclusive, but in my mind only addresses the craft aspect of music. In my opinion, a good definition of music needs to include the emotional as well as the intellectual side of the art.

The best definition I have found comes from Jon Winsor. In his book, “Breaking The Sound Barrier: An Argument for Mainstream Literary Music”, he says, “Music is the use of sound to represent biological rhythm”. By this he means that music should have both the tensions and relaxations that are present in life. All elements of music can have these tensions and relaxations and when the elements work together symbiotically, the emotional impact is usually strongest. When composers isolate the musical elements and focus on just one or two, in my opinion, the emotional impact is weakened. For example, a composition that is concerned mainly with timbre and does not concern itself with the biological rhythm of melody, harmony, counterpoint, rhythm, etc., leaves an audience cold regarding the musical expression. The piece may be logically conceived, but other than the changing timbres, there is not much interest.

Leonard Bernstein, in his Norton Lectures at Harvard University in 1973, uses language as a way of explaining music. In one of his experiments, he equates a noun or noun phrase with a musical motif or theme. An adjective would be equated with a chordal modifier and a verb with rhythm. In order for language to make syntactical sense and have semantic communication, at least these three language components must be present. For example, “The long (adjective) hours (noun) drag (verb) on.” If a sentence only has one of these components, for example nouns, the sentence may be colorful, but lacks meaning (example: hours, days, minutes, years, weeks) and certainly a clear emotional impact. The same is true with music if melody, tonality, harmonic progression, counterpoint, are minimized or eliminated in favor of timbre.

I found myself totally mystified by what some academic composers consider music at a recital of 21^st century music that was presented at a recent conference. While I appreciate the craftsmanship that goes into these compositions, the emphasis on timbre at the expense of logical development of other elements left me cold. In addition, the heavy use of dissonance and tone clusters also inhibited the listener from feeling humanly connected, as these types of sounds appear only in the upper reaches of the overtone series where they are technically present, but not audible by the human ear.

Robert Ehle in his article “From Sound To Silence: The Classical Tradition and the Avant-Garde” Music Educators Journal, March, 1979, states that “the quest for new ideas without old associations has led to the abandonment of music as sound in favor of music as pure idea.” Roland Nadeau in his article “The Crisis of Tonality: What is the Avant-Garde?” Music Educators Journal, March, 1981, illustrates how composers have systematically eliminated each aspect of music culminating in John Cage’s “4:33” where composed sounds no longer occurred. Perhaps the next step is the elimination of the audience itself? Some food for thought.

American Vignettes for Brass Quintet Movement 6

2011-03-21T11:20:00.000-07:00

I finished the final movement of American Vignettes. It is called "Harlem Jump." Once again, I used a movement from previous composition as the basis of this movement. It comes from my "Three Jazzy Pieces" that exists as a mixed trio. I expanded it to a brass quintet by adding harmonies and featuring each musician as a soloist.

The design of the written out solos is to sound like improvised solos. It is interesting how I composed these solos. Normally solos are played over the existing chord changes of the tune. In this instance, the tune is mainly linear (contrapuntal) and not so much vertical (harmonic), therefore the chord progression (if one exists from the sum of the lines) is secondary. When I composed the solo sections, I just composed a line that sounded interesting melodically without any regard to chord progression. I then built a bass line and added riffs to fit with the solo line.

Variations in the texture, instrumentation, tonality, and dynamics of the returning head create interest.

When composing this movement and thinking of its title, I felt a need to change some of the titles of the other movements to make then more geographically inclusive, therefore Hoedown became Barn Dance and Southwest became Fiesta.

To see and hear what I have discussed, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

American Vignettes for Brass Quintet Movement 5

2011-03-12T12:55:00.000-07:00

During my travels, I have been using the first movement of a composition I wrote for tuba and piano to demonstrate unity and variety in music. The piece is called American Fantasy and is based on America the Beautiful. My plan for the fifth movement of American Vignettes was to do a French Horn feature using America the Beautiful and when I sat down to work on this movement, I couldn’t get the tuba and piano piece out of my mind. Maybe that was an omen because I ended up adapting the tuba and piano version for the French Horn feature within the brass quintet.

Since the Horn is the middle voice of the brass quintet, my biggest challenge was to be sure the Horn would be heard over the accompaniment in the other brass instruments. Putting the other brasses in ranges where they could be played soft enough for the Horn to project alleviated most of this concern. The Horn range was also as concern as it plays in the low/middle register a lot where it does not project very strongly. I considered changing key, but decided to leave things where they are, otherwise the upper register Horn parts would get too high.

There was one section that recurs often where I changed from Horn solo to ensemble playing. It is the figure in measure 12 and similar measures. The Horn melody just got lost in the brass harmony so the first trumpet now has the melody.

I also have a concern over whether the trumpets can sound ethereal in measures 6-8, as it is in a high tessitura at a soft dynamic. I believe strong musicians can play with the type of control required to pull this off.

Jazz influences both sections of this movement. The slow section uses jazz harmony constructed of enlarged chords and substitute chords. It also uses syncopation not present in the melody of America the Beautiful. The second section is a jazz waltz. A motif from America the Beautiful becomes the basis for the minor jazz waltz theme. A lot free material follows the motif, but this idea occurs a lot and is used in imitation later in the movement. Longer segments of America the Beautiful also occur throughout the movement.

To see and hear what I have discussed, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

American Vignettes for Brass Quintet Movement 4

2011-03-09T05:40:00.000-07:00

Movement 4 is a trombone feature and represents the Southwest. The Southwestern flavor is accomplished through alternating 6/8 and 3/4 and the bright colors of the muted brass playing staccato eighth note rhythms and "ay" sounding motifs. The tonality and melody are also very traditional and once again I was looking for ways to spice it up a little without destroying the folk nature of the movement. I varied the meter by changing to 4/4 or 5/4 where one expects to hear 3/4. I inserted some chromaticism to add variety to the melody. I even slightly changed the melody when it repeats for some variety and use contrapuntal lines often. Another technique I used was a canon at measure 30. I also used an augmented triad as a substitute for a V7 in some places.

The form of this movement is like a verse-chorus. I think of the 3/4, 6/8 alternation as the verse and the straight 3/4 as the chorus. The chorus contains the more attractive melody and I use that more often than the verse.

To see and hear what I have discussed, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

American Vignettes for Brass Quintet Movement 3

2011-03-02T16:56:00.000-07:00

Movement 3 is the tuba feature and is called "Spirituals". I use three different spirituals in this movement, "Nobody Knows the Trouble I've Seen". "Cotton Needs Picking" and "Every Time I Feel the Spirit." When I work with folk music that is so direct in its communication, I find it difficult to change the music too much because it looses its feel. My tendency then is combine tunes to make something unique.

The movement begins with the solo tuba doing the chorus of "Nobody Knows". The tuba is unaccompanied until measure 4 where the Horn enters with a counter-melody of my own. Measure 4 is stretched into a 5/4 measure for variety. Measure 8 is a 6/4 bar to end the introduction and accommodate the pick-ups of "Every Time." This is now in an Allegro tempo with a double time feel as the trombone plays an eighth note bass line. At M. 17 the Horn then the trumpet plays the verse of "Every Time" with the tuba filling in on long notes. M. 25 is an elaborated version of the tune in the tuba.

At M 33, I alternate phrases between the trumpets and tuba using the verse of "Nobody Knows." I alternate the harmony between major and minor in the trumpets and write a technical flourish for the tuba. M. 41 is similar but up a whole step.

After a two measure vamp at M 49, the tuba plays the chorus of "Cotton" in a call and response manner with the other brass. The roles reverse at M 59 with the tuba shouting in the upper register. This section modulates and incorporates a swing feel. The tuba has the final say in the manner of a cadenza.

To see and hear what I have discussed, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

American Vignettes for Brass Quintet Movement 2

2011-02-26T10:05:00.000-07:00

For the second movement, I wanted to write a blues and feature the other trumpet player on Flugelhorn. As I was working on the movement, the blues seem very mysterious and lonely so I titled the movement 4 A.M. Blues. It reflects someone who can't sleep and is contemplating the deep mysteries of life and feels very alone in the world.

This movement is not a blues in the sense that it uses the twelve bar blues progression. It is actually a traditional song form (AABA) with some subtle variations. It is more of a "Third Stream" kind of blues that is a cross between classical and jazz. The jazz elements are the muted brass (including the tuba), the Flugelhorn, and the use of variants of the blues scale with its lowered third, fifth and seventh degrees.The classical elements are the evenness of the rhythm, counterpoint, and transformation of motivic ideas.

The mood is set with the muted low brass playing a mysterious accompaniment figure. The Flugelhorn then enters with its bluesy melody that is constantly changing in subtle ways while the phrasing remains consistent. At measure 10, the 1st trumpet enters with a bluesy motivic idea that will later have more of a presence. The second A section is from M 11-18.

M 19 begins the B section. The meter shifts to 7/8 although there is no sub pulse, rather just 7 equal eighth notes in each measure just as the 6/8 and 9/8 measures that precede it are mostly equal eighth note beats. I did indicate a stress mark on beats 1 and 4 of the accompaniment in the A sections, but that is to counteract the 3/4 feel created by the harmonic and melodic groupings. M. 19-23 uses the trombone imitating the Flugelhorn and the tuba providing a rhythmic pedal tone effect. The 1st trumpet once again come in with its motif that is imitated in the Horn (M 24 & 25). We then hear a 6/8 version of the B section Flugelhorn melody accompanied by variants of the 1st trumpet motif orchestrated in the remaining brass.

A return of the A section occurs at M 34-43. The ending uses fragments of the A section accompaniment and the 1st trumpet motive to create a quiet end to the movement.

Dynamically, most of the movement is PP, P, and MP. MF is used only a few times therefore creating a sense of the stillness of the wee hours of the morning.

To see and hear what I have discussed, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

American Vignettes for Brass Quintet Movement 1

2011-02-23T07:36:00.000-07:00

Hello readers. I have been silent for a while because I am on a six-week tour doing presentations at colleges, universities, and conferences and hearing premieres of my music. I am managing to compose while traveling and camping in my little van. I have a USB powered one and a half octave keyboard (M-Audio's Oxygen 8) connected to my laptop and I am set to go.

The piece I am writing now is a six-movement composition for the Lyric Brass Quintet of Pacific Lutheran University. This faculty ensemble is putting together a CD of American music composed during the 20th and 21st Centuries for a recording project through Emeritus Recordings. They asked me to compose a piece with Americana influences and to feature a different member of the quintet in each movement. I am calling the piece "American Vignettes".

The first movement is a Hoedown and features the first trumpet. I use fragments and elaborations of "Old Chisholm Trail" and "Short'nin Bread" as the melodic material during the movement. Since this is the opening movement, I started with a fanfare section that treats all the brass equally. It contains quartal and tertian harmony as well as syncopation and call and response. From M 11-35, phrases from "Old Chisholm Trail" are broken up by a rhythmic accompaniment and a muted trumpet insert that gets more intrusive during the entire movement, as is it was competing for attention with the solo first trumpet. M 35-60 gets rolling without interruptions (except for the muted 2nd trumpet) with variants of both tunes and frequently modulates. An extended version of the opening re-occurs at M 60-74. More variants follow with modulations occurring more often as the movement builds to the coda that begins a M 112. The Coda recaps earlier material and finishes with a final flourish for the solo trumpet.

To see and hear what I have discussed, go to http://www.cooppress.net/american_vignettes_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Hep Cats for Flute and Clarinet

2011-02-08T13:59:00.000-07:00

Hi readers,

I have been working feverishly on a flute and clarinet duet for The Ardente Duo consisting of Cassandra Rondinelli-Eisenreich, flute and Danielle Woolery, clarinet. Cassandra and Danielle will be producing a CD of my music for flute and clarinet and I adapted my Suite for Two Saxophones for them as well as turning my composition "Hep Cats", that was originally written for solo clarinet, into a duet.

The Suite adaption was a fairly simple process of adjusting ranges as both parts had interesting and melodic material. My biggest challenge was deciding which register to write the clarinet and settled on low register for some of the movements and high register for the others. I think I achieved a nice balance as well as variety. I have not posted the score and sound file because there is not much to illustrate.

Hep Cats was originally composed during 2008 for a clarinetist who was planning a CD of solo clarinet compositions. Since 2008, the clarinetist's plans changed and he withdrew from the project. I thought that this piece could be made into a nice duet. If you would like to read my blog about composing the solo clarinet version, please go to the May 2008 entries. That has a discussion of the musical ideas. In this discussion, I'll focus on the duet adaption.

Here is an excerpt from the program notes. The title is a double entendre first suggesting the jazz influences and second being a musical portrait of felines. The first movement is called “Siamese” and was written in memory of my cat, Siegfried, who was part Siamese. It is an upbeat, swing movement and captures the joy Siegfried brought my wife and myself. “Angora” is the title of the second movement and is moody, bluesy, and mysterious. The last movement, “Tom” is in a rock style and is aggressive.

I added a four measure clarinet introduction to the first movement which then becomes the accompaniment for the flute line. The introduction is actually the only added part to the entire piece. To create a duet part, I looked for motives that came from the existing music to create the duet lines. I was challenged by how to divide the solo material between the two instruments. I tried to find logical places to split the line and then I created the duet line to go with it. There are times where the solo line stands by itself without any accompaniment. Other times the duet part creates a counterpoint and occasionally a canon. Sometimes it moves in rhythmic unison and creates a harmony line. I was pleased with the variety of textures that are used in the duet version.

To see and hear what I have discussed, go to http://www.cooppress.net/Hep_Cats_Duet_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Meditation and Festive Celebration Revisions

2011-01-31T15:22:00.000-07:00

I am including below parts of an email from Andrew Seigel who relayed Jihyun Woo's comments as well. Inserted are my comments regarding how I dealt with their suggestions. The examples now contain new files with the revisions. I hope that my readers will realize that composers can learn a lot from performers and always be willing to try to incorporate their suggestions. I think my composition is stronger because of it.

Andrew: It is my believe that the piece works as is, but that there are some
things that might be addressed to make it easier to play, and perhaps
more effective musically. Please take the comments in the helpful
nature that they are offered.

Regarding the first movement, I think this works very well, but JiHyun
and I both thought the ending detracts slightly from the piece. I've
got two thoughts about this - one, that perhaps the cadence figure is
just a little too drawn out (long). Perhaps it should simply end at
measure XX, rather then adding another bar? JiHyun's suggestion was
to include the clarinet in the closing, and I could see that that
might serve to punctuate the ending of your Meditation more
effectively. The writing in both parts seemed (and sounded)
idiomatic, and there is ample room for emotive affect in the clarinet
part. It actually reminds me a little of the Copland Clarinet
Concerto in spots...

Me: I agree about the ending. I did shorten the cadence and added the clarinet and I believe that it works much better.

Andrew: The second movement definitely works better with clarinet and organ
than the recording you provided led us to believe - of course you
explained the difficulties in trying to "realize" the organ
sonorities. So that was a pleasant surprise. The balance and
projection issues that I mentioned in the previous email didn't seem
to be a problem, either - I think that might have been a function of
my very, very dead sounding practice room.

So, the initial figure is great - I think I've told you that I find it
to be a bit of an "ear worm," and JiHyun said she quite liked the
organ writing there as well. Both of us felt, I think, that this
movement felt a bit more disjunct than we expected. Put a different
way, it sort of seemed like the piece might be trying to do too many
different things (sounds? effects?) with the organ. Is it possible
that there are too many ideas there? Some specifics:

Me: Upon review, I too felt that it did sound somewhat disjunct, but not because there were too many ideas, but because I needed to make better transitions between the ideas. Once again the problem with getting the Sibelius software to playback what I wanted may have gotten in the way and also my not being an organist. My specific changes follow your specific suggestions.

Andrew: There are some parallel octaves at mm. 14, 20 that JiHyun pointed out
- she suggested that this doesn't work so well with the organ.

Me: I fixed these and the ones later one by sustaining some notes to avoid the parallel octaves and it does improve the sound.
Andrew: The passage work at mm. 26 seemed very awkward to her, and the pedal
work in the following bar doesn't really project in the voicing that's
being used elsewhere in the piece - it ends up sounding quite hollow.

Me: I put the sixteenth notes that were in the organ into the clarinet as it is really more characteristic of the clarinet. I resolved the organ's harmony from measure 25 on the downbeat of measure 26, took what was in the pedal at measure 27 and put it in the left hand of the organ and put a pedal tone in the pedal. Measure 27 is a point of repose before returning to the energetic opening material. I added a small ritard in measure 27 and then back to tempo in measure 28. I think the changes in these measures make this clearer.

Andrew: At mm. 43, things feel very static and simple in comparison to the
harmonic language that you've established earlier in the piece.
Perhaps this is by design, but it struck both of us as rather abrupt.
Perhaps it's the texture of the pedal tune against the melody in
45-46? JiHyun was asking "Which line is the melody?" She suggested
that it might work to incorporate some of the rhythmic writing in the
hand parts, rather than the foot?

Me: This section was designed to relax the tension of the previous section before building to a second climax at the end. I took the syncopation out of the pedal and put in all in the clarinet. I put the more sustained pedal parts in the organ left hand so there is no pedal in this section at all. The melody of this section is in the organ. The line is a development of the rhythmic and harmonic idea that first occurs at measure 16. This section has a quiet intensity as the organ phrases are both accompanied by and interspersed by the syncopated clarinet figure and the more sustained organ left hand. Moving this more sustained part to the left hand and out of the pedal should enable a lighter sound so it can contrast the more harmonic organ phrases.

Andrew: There's another abrupt texture change at mm. 55 - landing on the octaves.
Me: I took the pedal out here and filled in the harmony.
Andrew: The pedal writing in mm. 61 - the short note values at the end of the
bar aren't really heard - the don't project as cleanly as the scoring
might suggest you're looking for? They're playable, but we thought
not as effective as you might want.
Me: I changed the eighth to a quarter note.
Andrew: The pedal in mm. 65 - are you looking for an extension of the hand
figure? Again, with the registration, it seemed a little not quite
right. Perhaps that's a register issue - I'm not sure. It's similar
in mm. 71 and 72 - there's a sort of disconnect in the sound.
Me: I removed the pedal in both these places and at measures 24 and 25 which had the same problem. I did add two notes in the pedal at 66 to lead into 67. These changes help lighten up the organ part as the clarinet sustains the activity.
Andrew: The ending seemed a bit "out of the blue" to us - again, a sudden
texture change, and material that seemed to us unrelated to what we've
done - it came across as sort of coda-like, and left us wondering
about where the high point of the piece might be, looking for form and
such.
Me: As I alluded to earlier, there are two climaxes in the movement. One is at 26 and the other is at 73 to the end. At measure 73, the return to the open material creates a slight drop off in intensity before building once again to the end. It is a coda and to link it more to what came before, I sustained the organ note on beat 2 of measures 73 and 74 and added a measure at 76. I feel it builds better to the end and links better with what came before it.

Andrew: Only one little issue with the clarinet part - mm 15 - getting from
the high C# to D# is awkward. Certainly doable, but awkward. Always
has been, always will be. I don't know that it needs to be addressed,
but the finger combination is less than kind.
Me: I did address it and changed the B concert to a G# concert.

To see and hear what I have discussed, go to http://www.cooppress.net/Meditation_and_Festive_Celebration_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Composing for Composition Competitions

2011-01-23T10:40:00.000-07:00

Hi readers,

I have been spending the past few weeks adapting and recreating some of my compositions to enter into some competitions. At this stage of my career, I usually don't enter competitions for several reasons. First is that many are for composers in the early stages of their careers. Second is that many are more geared towards the academic composer and my music tends to be more audience oriented. Third is that I am usually so busy with composing for specific performers, that I don't have time to compose for a competition.

However, there were four competitions that I decided to enter because I feel that I have pieces that are very right for their stated goals, there is no age limit, and I decided to make some time between projects to adapt and create additional music to fit the competition requirements.

I cannot discuss these works here as most of them require anonymous submission, but I'd like to encourage composers to recycle existing works to create new ones. Many of my compositions have only one or a few performances and recycling them can give them new life. In the instance of one of these competitions, I combined two different works into one, re-orchestrated both of them, and gave the piece a new title. I am very pleased with the results and I hope the judges are as well.

I have also learned that winning or not winning a competition is no reflection upon the quality of my work. Having judged competitions many times, it is often more about what suits the organization's needs rather than the fact that one composition is clearly better than another. Judges often narrow the field down to a few entries. This narrow field reflects both quality and suitability. So I encourage composers to read the guidelines carefully to determine if what they have written is right for the competition and then be pleased if you win, but not too disappointed if you don't. Remember, you can't win if you don't enter!

Dr. B

Meditation and Festive Celebration

2011-01-02T07:07:00.000-07:00

Happy New Year to my readers. I am composing this piece for Dr. Andrew Seigel, Professor of Clarinet at SUNY Fredonia and Dr. Jihyun Woo, Professor of Music Theory at SUNY Fredonia. They are producing a CD of clarinet and organ music and this composition, as well as my "Affirmations" for bass clarinet and organ that I wrote over from the double bass and organ version, are adding to the repertoire.

I always find writing for organ a challenge. Writing a piece for organ was my final exam for my A. mus. D in composition at the University of Arizona and I worked closely with a graduate student organists and began to learn about the instrument. Since that time, I have written other pieces for organ and once again, I always asked the organist for assistance. With this piece, I am asking Jihyun for her advice and hope to glean many things to improve the piece. In addition, I was guided by Sondra Soderlund's "A Guide to the Pipe Organ for Composers and Others" and it is an invaluable resource for anyone wishing to compose for the organ.

Andrew and Jihyun were looking for a relatively brief prelude or two that could be used in concert or church setting. I hope that I achieved their goal. One of the challenges in composing for organ is that the software does not play back the registrations. The only sound is full organ. I changed the sound to strings, flutes, and oboe to approximate the organ registration, but these sounds do not have 2',4',8', and 16' stops. I am also relying on Jihyun to make suggestions regarding registration. I included dynamics and some suggestions as each organist will use my suggestions to come up with what works best on the particular instrument they are performing on.

The Meditation uses some mild polytonality, but is very tonal otherwise. Meter changes break up the regularity of rhythm and triplet patterns break up the duple meter feel. The dynamic never rises above a mf. The Festive Celebration again uses triplet patterns within a duple meter. A lot of syncopation is present in the organ part during the A sections and then it becomes more straight-forward in the B sections. The harmony uses a lot of chords in 4ths. Once again, meter changes break up the steady 4/4 meter and the movement freely modulates to different tonalities. The predominant dynamic is f and a full organ sound is appropriate here. Measures 43-60 provide a registration, dynamic and textural change before returning to the Great manual to build to the end.

To see and hear what I have discussed, go to http://www.cooppress.net/Meditation_and_Festive_Celebration_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - VI. Galop for woodwind doubler and piano

2010-12-10T16:09:00.000-07:00

I created two versions of the final movement, one for woodwind doubler and piano and the other for piccolo and piano. The basis of the work was Divertissement for oboe, piano and percussion and the last movement, Galop had a lot of interplay between xylophone and piano. The xylophone part ended up in both the piano and solo part.

Let me discuss the woodwind doubler version first. The first thing I did was to listen through the movement and make some decisions regarding the order and places for instrument changes. I tried to pick sections that were characteristic for each instrument, but since this movement is a rondo form and had several repeated A sections, the order of the instruments took precedent. I knew that I wanted to start with bassoon because setting up a seat strap was easier at the beginning of a movement. I also heard the more lyrical section from M. 47-84 as being a saxophone line. I knew that I wanted to end with flute with a change to piccolo for the last two measures. That just left me where to put the clarinet and oboe and I decided to have the clarinet after the bassoon and the oboe after the saxophone.

My next consideration was making sure there was enough time to make the changes. The spots I chose for the switching all had long enough piano interludes except at measure 20. Originally there were only 2 measures here and I expanded it to 8. The other spot that has me concerned is measure 80. There only four measures of fast 2/4 to change from saxophone to oboe. If this is not enough time, I could insert 2 measures of silence after measure 82 that I think would be effective.

I wanted to do a piccolo version of the last movement for marketing purposes. Each movement of this piece could stand alone as a short piece for flute, oboe, clarinet, saxophone, bassoon, and now piccolo. I will also publish the work as a woodwind doubler's dream (or nightmare, depending upon how one views it). While working on the piccolo version, I realized that the last measure works better up an octave. I changed it on my woodwind doubler version, but did post the changes here so you need to imagine the last measure up an octave.

Both versions are posted for your perusal.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - V. Romanza for oboe and piano

2010-12-06T11:53:00.000-07:00

Before discussing the Romanza, I would like to respond to Bret's comments about the Marche. As a composer, I have no problems with a performer adding their individual interpretation to my music. There is always a fine line that a composer needs to walk between marking every nuance in the music a la Mahler, and not having enough markings in the music to aid the interpreter. I mark my music with what I feel are the essentials. If Bret hears a pause on beat three of the first measure and wants to add an accent in measure 11, I have no problem with that. The same is true with slight crescendos and diminuendos to enhance the phrasing. I would be disappointed if the musician didn't do that.

On the other hand, the performer also walks a fine line with deciding when to change a composer's music. Most performers want to be true to what the composer has written, but acoustics of a hall, individual interpretation, balance issues, etc. all combine to make each performance unique. However, I feel that radically altering a composer's tempo and style indications goes beyond the freedom of interpretation. That happened to me on a recording of my "I Am Music" through ERM Media that had tempos almost 40 MM slower than indicated and what was discussed with the conductor. It totally changed the spirit of the piece.

All this leads me back to Bret's other suggestion of substituting a glissando instead of the chromatic sixteenth notes in the Marche. This I feel is approaching a radical change and I am glad he expressed his thoughts rather than just doing it. I am hearing 16th notes and these chromatic passages help unify the last section. If a glissando was inserted at measures 71-72, it would create a different meaning for the later chromatics. On the other hand, if a glissando was used in place of the chromatic 16th notes at measures 117-118, it could create a nice variety. I would like to hear those measures both ways before deciding, but I am open to that possibility as the chromatic scales have already unified the last third of the movement.

The Romanza was the easiest movement to adapt as I was not changing the solo instrument from the original version. All I needed to do was to eliminate the wind chime percussion part. Since the wind chime entrances were used to continue the motion, I inserted some notes in the piano part to compensate. I also added a run to the oboe part at measure 53 to aid with keeping the motion going.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - IV. Marche for clarinet and piano

2010-12-01T14:22:00.000-07:00

This movement included some snare and cymbal parts that needed to be replaced. The piece actually began with a snare drum figure for one measure and I just eliminated that. Most of the movement was fine without the percussion except when the percussion played alone. Measure 38 was one of those places. I used a sustained note in the left hand of the piano, added three extra notes to the piano right hand and turn the 6/8 measure into a 9/8 measure. Measure 51 just uses the sustained in the right hand to fill in for the missing percussion.

Measures 65 to 73 was entirely percussion and piano left hand. The clarinet part and piano right hand was added to replace the percussion. Upon review of the movement, I added the chromatic 16th note run at measures 71 and 72 and I like the improvement. It also suggested other places to add the 16th notes like measures 80, 117, 118 and 120.

Measures 89 to 96 took a snare drum figure and made it into a piano left hand line. One can definitely hear the snare drum in one's imagination.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Der Fledermaus Fantasy for Clarinet and Piano

2010-11-30T14:11:00.001-07:00

I have been working on this composition while I am working on Divertissement, so this post interrupts my posting regarding that composition. I am writing Der Fledermaus Fantasy for Melissa Garner Koprowski, a wonderful clarinetist who recently won the International Clarinet Association's Young Artist Competition. We went through several ideas regarding a composition for her before settling on this idea as Melissa loves to play operatic pieces.

This Fantasy is modeled after Sarasate's "Carmen Fantasy"as it uses themes from the opera and expands upon them in order to show off the solo instrument. I essentially used the overture and inserted Rosalinde's Csardas in the middle of it. After entering all the notes from the piano/vocal reduction and deciding what parts to give the solo clarinet, I went through the entire score to find the best key regarding ease of technique and best sounding range. The overture was mostly in A, D, G, and E major with the Csardas in B minor. I ended up using Eb, Ab, Db, and Gb for the overture and Bb minor for the Csardas. At measure 497, I inserted another modulation to put the piece back into Eb for the ending.

Once the keys were settled, I then worked on elaborating on Strauss. Almost all the elaborations occurred in the clarinet part. but I did add some things to the piano as well. This was fun piece to work on because the melodies are so lyrical and playful. I was careful in my elaborations to retain the character of Strauss, but to make the piece more like a clarinet solo.

While composing this piece, I encountered a problem with the Sibelius playback that I never encountered before. The first half of the piece is fine, but starting with the Csardas, Sibelius had difficulty playing repeated notes. Any sustained repeated note following a shorter note would not be sustained. I was able to overcome this problem by using articulation but all the material following the Csardas sounds rhythmically spastic. Sibelius is fine when I play other files so I am wondering if it had trouble with all the fermatas in the Csardas. As you listen, just be aware that some of the uneven rhythm is not intentional.

To see and hear what I have discussed, go to http://www.cooppress.net/Der_Fledermaus_Fantasy_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - III. Valse for bassoon and piano revised

2010-11-29T06:45:00.000-07:00

Please be sure to read Bret's comment regarding my last post as he had some excellent suggestions regarding improving this movement that I have incorporated into this revision. I have posted his comment and this blog as an illustration of how a composer and performer can collaborate to make a stronger composition. If you are a composer, I encourage you to take lessons on all the instruments as it really helps to learn to write for them. I had the good fortune to have both my B.S. and M.S. in Music Education so have studied all the instruments in either a class situation or privately. But even then, I cannot have the knowledge that a skilled performer has, so I relish the opportunity to learn from them.

I have reposted the audio files of the Valse with the revisions. Here is a summary of the changes:

I was very careful to avoid the crossed lines between the left hand of the piano and the bassoon. When Sibelius played the piece back, I did not hear any problems with crossed lines as the timbres were so different, but I can imagine that in live performance, there would be more reverb and therefore blurring of the lines. Most of the time, I took sections of the left hand of the piano down an octave. Sometimes I took it up an octave and put it in treble clef. Another time, I took the bassoon up an octave (measures 60-76) which helped with the lines and also explored the higher register of the bassoon. I choose this spot as it was a recapitulation of the opening material and the new timbre gave it variety.

I made the last note optional 8va basso as inserting a tube into the bassoon can make this note possible.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - III. Valse for bassoon and piano

2010-11-26T07:21:00.000-07:00

This third movement came over very easily for bassoon and piano. I did not need to change the key as I did in the first two movements as taking it down 2 octaves and putting it in bass clef suited the bassoon range and tessitura well. The only thing I needed to be concerned with was loosing the percussion part which was all bass drum in this movement.

This movement is a humorous valse (waltz) and the bass drum added to the humor by being on beats other than the strong beat of the measure. I was able to just eliminate the bass drum because the syncopations in the bassoon and piano still left the piece with the feeling of an awkward waltz. There were a few measures where the bass drum played alone. Measures 51 and 54 are 4/4 measures where the bass drum played on all four beats. I found the the silence for all four beats worked very well and I did not neat to add anything. The other spot was measures 108-109 where the bass drum had a triplet figure that diminuendoed. I created a similar figure for the bassoon and that solved the problem.

I chose bassoon and piano for this movement because of the humorous flavor. I also slowed the tempo down a notch to make the waltz a little more lumbering.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - II. Nocturne for alto saxophone and piano

2010-11-15T15:26:00.001-07:00

Once more, I found myself transposing this movement up a fourth from the oboe, piano and percussion version. It fit the alto saxophone range better but I needed to bring some of the piano part down an octave to make it work. This movement used marimba in the other version, so I was challenged to find a place for the marimba parts. Most of the time, I incorporated it into the piano, but there were times where the saxophone has some of the marimba part. Unless you compared the two versions or I told you specifically where to look or listen, I hope that you will not be aware of something added. My goal was to transform the other piece into something that sounds like it was written first for this instrumentation.

Another challenge was to keep the forward motion going in this movement as the marimba was rolling a lot of notes and when that part came into the other instruments, some momentum was lost. As a result, I added some harmony and also a new rhythmic motif of 16th rest, 16th note, 1/8th note. Measure 10 is an example of added harmony and measure 11 has the new rhythmic motif. I carried this motif through in several other places as it added a new dimension to the piano part.

The Meno mosso at measure at measure 36 is also something that was not present in the original. I feel the change of tempo is needed here because I did not have the change of color as in the original version.

In the first movement, I took Bret's suggestion of extending the range and brought the flute up an octave at measures 71-73. This fits very well as it is the climax of the movement. The scorch file has the change. If you listen to the mp3 file, imagine these 3 measures up an octave.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Divertissement - I. Intrada for flute and piano

2010-11-10T10:52:00.003-07:00

I am writing my next composition for Bret Pimentel of Delta State University in Cleveland, MS, who is a master at doubling on multiple woodwinds. This composition recycles material that I used in a 2005 composition of the same name, but the instrumentation was for oboe, piano, and percussion.

I decided to do the first movement over for flute and piano. This is a lively movement that uses a lot of syncopation and is a technical showpiece. It is typical of my style as it is tonal, yet the tonalities move freely on one key to another and the harmonies are a combination of of chords in fourths, triads, and mild polytonality. In converting this movement for flute, I transposed the movement up a 4th to get the flute in a brighter register. I took some of the piano part down an octave to keep it out of the flute register. There were several places where the percussion played alone and those places needed to be filled in with flute or piano parts. I also varied some of the articulation and dynamics to make it work better for this instrumental combination.

To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Burnsiana Movement 5

2010-11-01T10:33:00.000-07:00

BANNOCKBURN
Scots! wha hae wi' Wallace bled,
Scots! wham Bruce has aften led,
Welcome to your gory bed,
Or to victory!

Now's the day, and now's the hour;
See the front o' battle lour:
See approach proud Edward's power -
Chains and slavery!

Wha will be a traitor knave?
Wha can fill a coward's grave?
Wha sae base as be a slave?
Let him turn and flee!

What for Scotland's king and law
Freedom's sword will strongly draw?
Freeman stand, or freeman fa'?
Let him on wi' me!

By oppression's woes and pains!
By your sons in servile chains!
We will drain our dearest veins,
But they shall be free!

Lay the proud usurpers low!
Tyrants fall in every foe!
Liberty's in every blow! -
Let us do or die!

This movement is the most Scottish sounding of Burnsiana, and rightly so, as it is the most patriotic of the poems I chose to influence this composition. The movement begins with a bagpipe type drone on the tenor and baritone saxophones. The soprano saxophone has melody that represents the calm before the battle. The rallying of the troops begins at measure 16. Staccato notes and trills permeate this section. The battle itself begins at measure 34 with short accented notes representing dueling.

Measures 42 - 92 is the heat of the battle. The soprano and alto saxophones alternate minor scale passages while the tenor and baritone saxophones have a more sustained melody based on diminished 7th chord harmonies. Measure 63 is a canonic interlude based on earlier material of rallying the troops. This staccato idea becomes an underpinning for a re-orchestration of the diminished 7th sustained melody.

Measures 92-112 rallies the troops again, but this time with use of the melody to Scotland the Brave, first over a drone and rhythmic accompaniment and then in a canon of one beat over the same accompaniment. The battle continues again at measure 112 before Scotland the Brave enters for the final time at Measure 125, this time combined with the melody and drone of the introduction. The victorious battle concludes the movement and the composition.

To see and hear what I have discussed, go to http://www.cooppress.net/Burnsiana_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Burnsiana Movement 4

2010-10-20T11:20:00.001-07:00

All I can say is that Robert Burns must have had a lot of girlfriends and most of them named Jean. When I told the Avion Saxophone Quartet and its director that one of the poems I was using was Bonnie Jean, I discovered that the actual poem is called Jean. Bonnie Jean is a different poem. Anyway, here is the text that influenced the fourth movement:

JEAN

Of a' the airts the wind can blaw,
I dearly like the west.
For there the bonnie lassie lives,
The lassie I lo'e best:
There wild woods grow, and rivers row,
And monie a hill between;
But day and night may fancy's flight
Is ever wi' my Jean.

I see her in the dewy flowers,
I see her sweet and fair:
I hear her in the tunefu' birds,
I hear her charm the air:
There's not a bonnie flower that springs
By fountain, shaw, or green;
There's not a bonnie bird that sings,
But minds me o' my Jean.

I original thought of setting this in a slow tempo but when I got into it, I was impressed by the references to nature and the lightness of the expression of love, that I chose a slow waltz instead. This tempo and style also fits the sequence of movements better as I used a slow tempo for movement 2. There is slight polytonality in this movement. The Baritone Saxophone starts out in F, The Tenor and Alto Saxophones in Bb, and the Soprano Saxophone in C. These keys are closely related so there is not much dissonance.

The form is AABAABCCDBAAB. Contrast is created through melodic material, texture, orchestration and articulation. The tenor and baritone saxophones have a lot of melody in some of the sections. The music almost sounds flirtatious rather than a serious love.

To see and hear what I have discussed, go to http://www.cooppress.net/Burnsiana_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Burnsiana Movement 3

2010-10-13T15:28:00.000-07:00

The third movement is based on To A Mouse. The poetry follows.

TO A MOUSE
Wee, sleeket, cowran, tim'rous beastie,
O, what panic's in thy breastie!
Thou need na start awa sae hasty,
Wi' bickering brattle!
I wad be laith to rin an' chase thee,
Wi' murd'ring pattle!

I'm truly sorry Man's dominion
Has broken Nature's social union,
An' justifies that ill opinion,
Which makes thee startle,
At me, thy poor, earth-born companion,
An' fellow-mortal!

I doubt na, whyles,
but thou may thieve;
What then? poor beastie, thou maun live!
A daimen-icker in a thrave
'S a sma' request:
I'll get a blessin wi' the lave,
An' never miss't!

Thy wee-bit housie, too, in ruin!
It's silly wa's the win's are strewin!
An' naething, now, to big a new ane,
O' foggage green!
An' bleak December's winds ensuin,
Baith snell an' keen!

Thou saw the fields laid bare an' wast,
An' weary Winter comin fast,
An' cozie here, beneath the blast,
Thou thought to dwell,
Till crash! the cruel coulter past
Out thro' thy cell.

That wee-bit heap o' leaves an' stibble,
Has cost thee monie a weary nibble!
Now thou's turn'd out, for a' thy trouble,
But house or hald.
To thole the Winter's sleety dribble,
An' cranreuch cauld!

But Mousie, thou are no thy-lane,
In proving foresight may be vain:
The best laid schemes o' Mice an' Men,
Gang aft agley,
An' lea'e us nought but grief an' pain,
For promis'd joy!

Still, thou art blest, compar'd wi' me!
The present only toucheth thee:
But Och! I backward cast my e'e,
On prospects drear!
An' forward, tho' I canna see,
I guess an' fear!

The first image that comes to mind when reading this poem was of a mouse scurrying through a field. I tried to represented this by using key clicks in the saxophone. The recorded versions of this movement have the saxophone sounds and not the key clicks, so you will need to use your imagination. I was frustrated trying to get the software to playback with the key click sound. First of all, there were no key click sound in the sampled instruments. I tried to change to a percussion sound, but when I did it changed the notation. Then I tried to use an effect like a snap, but heard no difference. If anyone knows how to do this on Sibelius, I would love to learn how to do it.

The key clicks uses a scalar pattern in g minor. They are interrupted by two measures solos and finally a four measure 5/8 phrase. At measure 20, the key clicks come back in a new key but this time the last measure becomes a 5/8 instead of a 6/8 to add a little variety.

Measure 39 ushers in a new section that represents the accidental interruption of nature's balance. This section is mostly in 5/8, an unbalanced meter.

Measure 55 begins a very highly chromatic section and represents the harshness of winter that both the mouse and the plowman must survive. This section culminates in diminished 7th tremolos before transitioning into a more reflective section at measure 91. This reflection uses the key clicks again, but at a slower tempo along with more reflective interruptions that eventually develop into a quiet ending that leaves the listener with an unsure feeling, much in the way Burns' poem does.

To see and hear what I have discussed, go to http://www.cooppress.net/Burnsiana_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Burnsiana Movement 2

2010-10-07T14:49:00.000-07:00

These past week or so, I worked on the second movement of Burnsiana. The poem I used for the inspiration of the movement follows:

O MY LUVE'S LIKE A RED, RED ROSE

O, My Luve's like a red, red rose,
That's newly sprung in June.
O, my Luve's like the melodie,
That's sweetly play'd in tune.

As fair art thou, my bonie lass,
So deep in luve am I,
And I will luve thee still, my dear,
Till a' the seas gang dry.

Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun!
And I will luve thee still, my dear,
While the sands o' life shall run.

And fare thee weel, my only luve,
And fare thee weel a while!
And I will come again, my luve,
Tho' it were ten thousand mile!

I begin the movement with timbre trills. Timbre trills occur when the performer goes back and forth between the regular fingering for a note and an alternate fingering. I put a footnote to these trills indicating that they should be slow and gentle, like the rustling of leaves. I am trying evoke a sense of nature and of beauty. The playback does not create the effect I want as it is too regular and too pronounced. The lyrical (love) melody occurs first in the alto saxophone but soon travels to all the other saxophones during the entire movement, sometimes as solos, sometimes as duets, and sometimes in counterpoint.

Beginning in measure 10, the soprano saxophone plays a descending stepwise figure that once again gets transferred to all the instruments. As the poem intensifies with the ideas of parting and traveling to return, the descending stepwise idea is augmented to create a more undulating sense of urgency (measure 14). The melodic lines along with this figure are still lyrical, but more intense.

I take a liberty with Burns' poem by returning to the more subdued expression of love for the end of the movement. I simply repeat the first thirteen measures at a slightly slower tempo and only create a different ending for this material.

I usually like to create using a transposed score as I can see the ranges the instruments are playing in clearer and transposing in my head to recognize how the pitches sound does not cause me any problems. When working on this piece, I found the constant transposing in my head challenging because the top part is in Bb, the 2nd in Eb, the 3rd in Bb and the 4th in Eb. I was getting confused regarding what pitches were actually sounding. When I placed the score in concert pitch, the tenor and baritone saxophones were still in treble clef, so they had many ledger lines below the staff that were just as hard to read. I then put the tenor and baritone saxes in bass clef for the composing phase and the notes were in the staves, making the creation of the harmony and contrapuntal lines easier. This will be the way I will work on this piece from now on. I put the score back to transposed and changed the clefs back to treble for these posts.

To see and hear what I have discussed, go to http://www.cooppress.net/Burnsiana_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Burnsiana Movement 1

2010-09-28T07:50:00.000-07:00

Hello readers,

My next project is a composition for the Avion Saxophone Quartet of Wright State University. This is a commission through the Co-op Press Commission Assistance Program and the composition will be hopefully be premiered at the Ohio Music Educators Association Conference in January 2011. There is also a possibility of a performance at the 2012 World Saxophone Congress in Scotland and this possibility gave rise to the title and inspiration for the composition.

I have selected five poems of Robert Burns to represent through music. The first is My Bonny Mary and the poem appears below.

Go fetch to me a pint o' wine,
An' fill it in a silver tassie,
That I may drink, before I go,
A service to my bonnie lassie.
The boat rocks at the pier o' Leith,
Fu' loud the wind blaws frae the ferry,
The ship rides by the Berwick-law,
And I maun leave my bonnie Mary.

The trumpets sound, the banners fly,
The glittering spears are rankèd ready;
The shouts o' war are heard afar,
The battle closes thick and bloody;
But it's no the roar o' sea or shore
Wad mak me langer wish to tarry;
Nor shout o' war that's heard afar—
It's leaving thee, my bonnie Mary!

The first stanza brought two images to mind. The first is a drinking song and the other is the rocking of a ship. Both these images suggested a moderate 6/8 meter with a lilt, but when I got into composing the piece, the rhythmic feel changed to incorporate some 5/8 and 7/8 measures as well. It still has the lilt, but the irregularity of the meters adds rhythmic interest.

Measures 1-16 represent the first half of the first stanza which is the drinking song. Measures 17-33 is more intense as it represents a foreboding of the battle to come. The language throughout is modal and chromatic with harmony in thirds and fourths. There is frequent use of imitation.

Measure 24 heralds in the second stanza with fanfare figures. This is the most intense section as it represents the battle itself. At measure 39 cluster chords are used. This figure repeats often in the section though it is varied through sequence, hemiola and syncopation.

The battle winds down by measure 58 and measure 59 to the end uses some of the opening material as both the poem and the music become more reflective of having to leave his bonnie Mary to go off to war. The instrumentation is varied slightly as is the melody to make it calmer and sadder than the opening. The movement ends quietly as if the writer is off in his own reverie.

To see and hear what I have discussed, go to http://www.cooppress.net/Burnsiana_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Fantasie Variations on the Polish National Anthem - End

2010-08-19T10:52:00.000-07:00

Yesterday, I finished Fantasie Variations and I'm pleased with the way it came out especially considering the departure from my normal style. There are nine variations and I repeat the theme again at the end before moving to a coda.

The final fast section begins with a 5/8 variation where the measures are grouped 3+2. When I marked the tempo as 8th equals 240, little did I know that the tempo was ideal as it transitions with the eighth equaling the eighth into 6/8, where the dotted quarter equals 80, and then to 3/4, where the quarter equals 120, which was the tempo of the opening fast section. The opening piano motif uses the dotted eighth and sixteenth rhythm that permeates the theme. The saxophone enters (measure 147) with an elaborate filling in of the minor third opening interval of the theme with a turn (note, note below, note, note above). But the rest of the 5/8 is mostly free material, thus is very far removed from the theme. There are three large phrases for this idea (measures 147-165) and those 3 phrases repeat (measures 166-184), but with the piano doing the melody and the saxophone filling in for the first two phrases then back to the reverse for the last phrase. The 6/8 section at 185 varies the B part of the theme and is more recognizable even in 6/8. Hemiola of 3 against 2 is used a lot in this section.

An extension by one beat transitions the listener back into the minor variant heard earlier but with its own variation of the chromatic runs from measures 202-209. Measure 210-217 is a variant of the introduction and then the theme returns to remind the listener of what was varied. I set up the coda at measure 241 with a 5/4 measures that repeats the turn motif and sounds as if things are coming to a halt before the boisterous, rousing close.

After listening to the entire piece, I altered the chords in measure 125 so that the altered chords create a smoother progression. Because of this, I've included the entire composition in the 8/18 posting of the Sibelius file, but the mp3 is just measures145 to the end.

To see and hear what I have discussed, go to http://www.cooppress.net/Fantasie_Variations_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Fantasie Variations on the Polish National Anthem - Middle

2010-08-17T07:13:00.000-07:00

To create a four-measure transition to the slower section, I used a motive from the first measure of the anthem in the left hand of the piano and answered it with the motive inverted in the right hand of the piano. The idea is extended freely as it modulates to F major and the Andante.

My idea for the Andante was to explore the feminine cadence style trait if the polonaise. A feminine cadence resolves on a weak beat instead of a strong beat (example: dominant chord on beat 1 and tonic chord on beat 2). I also used the same dotted rhythm motive I used in the transition as the basis for a free melody for this section. To break up the regularity of phrasing, there are meter changes, irregular length phrases, and a forte sextuplet that adds and element of surprise. Measures 113 to 120 is a variation of the second part of the anthem that incorporates elements of the measures preceding it.A sudden modulation using the sextuplet idea followed by a fragment of the Andante melody transitions the listener to the Lento.

The Lento is the most lyrical section of the piece. It is also freely based on the opening rising motive of the anthem but without the middle note. Lush harmony that contains some borrowed chords for chromatic interest permeates this section.

To see and hear what I have discussed, go to http://www.cooppress.net/Fantasie_Variations_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Fantasie Variations on the Polish National Anthem

2010-08-12T17:20:00.001-07:00

Hello readers. I have been working on a new composition for about two weeks. My work has been sporadic because I have also been completely revising my website which is now up and running.

My new composition is being composed for saxophonist David Wozniak and pianist Libby Vanatta who received a Recording Grant from Co-op Press. David wanted a new piece with Polish influences and suggested using the Polish National Anthem.

I find it challenging to compose a composition based upon music with a very simple structure. The chords of the anthem are I, IV, V, the melody is totally diatonic, the meter is 3/4 with a Polonaise rhythm, the form is AB and the phrases are four measure phrases. In in order to be consistent, stylistically, one needs to respect this simplicity, yet at the same time, strive to be inventive.

I began with a simple introduction using motives from the melody is a brief contrapuntal treatment. After an eight measure introduction, the anthem is stated with the polonaise rhythm. On the repeat of the B section, I ornament the melody a little bit.

At measure 33, my ear suggested a minor mode variation. The piano plays alone for the first eight measures then the saxophone joins with a chromatic variation on top of the chordal piano part. I end this variation with a 4/4 measure followed by two more 4/4 measures as an interlude. This breaks up the 3/4 pattern.

The next variation is quieter and thinner in texture, just the saxophone variant and the left hand of the piano. After eight measures, this repeats, but the right hand of the piano does some staccato arpeggios before erupting into a chromatic flourish. Once more I end with a 4/4 measure followed by two more measures of 4/4 interlude.

The last new variation of this fast opening section is the farthest removed thus far. The interlude that precedes it uses some chords in fourth that sets up a looser melodic and harmonic variation. I change meter more frequently therefore creating variety in rhythm as well.

To end this fast section, I repeat the minor variant from earlier but add a little saxophone fill in the sustained notes of the first eight measures.

I plan to transition to a slower section and will discuss that after it is composed.

To see and hear what I have discussed, go to http://www.cooppress.net/Fantasie_Variations_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Adages for Violin and Tuba Movement 6

2010-07-27T07:11:00.000-07:00

Yesterday I finished Adages with the completion of movement 6 "A rolling stone gathers no moss." When I first read this adage, the musical treatment I envisioned was a perpetual motion to represent the rolling stone. I selected the 6/8 meter because of its rolling rhythmic feel and began the piece with a chromatic eighth note idea in the violin. In the fifth measure, I bring the tuba in with a more diatonic, lilting melody for four measures which becomes the A theme of this rondo style movement. The violin continues its chromatic rolling against the tuba theme.

One of the challenges I faced during this movement was finding a way to allow each instrument some break from the continuous eighth note rhythm that creates the perpetual motion. This is more necessary for the tuba and the player needs time to breath, but I was also concerned with breaking up the pattern for the violinist as well. The section from measures 9-12 illustrates my solution. I alternate the chromatic pattern between the two instruments every beat (section B of the rondo).

Measures 13-16 is a return of the A idea but with a different tonal center followed by a return of section B also with a new tonal center. Towards the end of this B section, the idea gets extended to two, three and four beats, creating overlap between the instruments. This section, which I call C, concludes with four beats of chromatic scale for each instrument.

Measures 27-50 is ABABC but with the violin and tuba switching roles. Measures 51-54 is a harmonized version of the A theme. It is followed by a variation of B as the two instruments are are playing the one beat chromatic idea at the same time and silence is inserted followed by a syncopated low tuba note as if the rolling stone is now hitting some bumps along the way. With the meaning of the adage being if we keep active we won't wither, it is possible that we might hit some bumps in the road of life that will try to interfere, as the music does at this point.

Measures 62-69 is both a variation of A and B as the ideas are treated canonically. Measures 70 to the end use the original A and B with the tuba and violin exchanging roles followed by C with a little more overlapping and a strong ending that represents the stone arriving at its final destination.

After completing the movement, I felt good about it, but still felt something was missing, so I let it rest a bit and planned to come back to it later. The solution occurred to me in the afternoon as I was reading a book. The piece needed more dynamics. I added lots of crescendo and diminuendo to the phrases and all of a sudden, the movement gelled.

To see and hear what I have discussed, go to http://www.cooppress.net/adages_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Adages for Violin and Tuba Movement 5

2010-07-25T09:18:00.000-07:00

Adage five is "He who hesitates is lost." Did you ever wonder how certain phrases would be set to music so that the music would represent the meaning of the phrase? How would you set this adage to music? Since instrumental music is by its very nature abstract, how can instruments represent specific meanings? If you weren't reading my blog or even knew the title of this movement, would you get the meaning I'm trying to convey? And is it necessary for one to be aware of the extra musical associations to enjoy the music?

I believe that these pieces would stand on their own without the titles and program notes. But for me, it is an integral part of the composition process. It makes composing easier when I am aiming to represent something specific. I have composed pieces with more abstract titles like "Sonata" where I get a musical idea and see where it leads me, but even then, I have an idea of the emotions that I am trying to represent. It was Stravinsky who said "I believe that music is incapable of representing anything at all." This statement was to foster his argument for Neoclassicism as a reaction to Romanticism. He later retracted this statement. I believe music does represent our humanity. If it didn't, it wouldn't be music, it would be just noise.

When I described movement three, I went into detail about a game of tag. This idea occurred after I completed the movement. I wanted to create a fun movement, but the specific story happened to make sense after I wrote the movement and added it to the description. The listener may come up with their own story line and that is fine.

I hope I have provided you with some food for thought. You may want to listen to movement 5 before reading any further and compare your feelings with my discussion below.

My general goal in this movement was to create a rhythmic complex movement that would involve the two instruments answering each other in the manner of a call and response. I had taken a class on free music improvisation a few months ago and we did a lot of call and response and I think this influenced me in this movement. The tuba is mainly the leader in the call and response, but in good improvisation and in this movement, each person listens to each other and either imitates the other or initiates a variation of the idea or a new idea. The message I am trying to convey is simple; you can't hesitate in this movement or it will fall apart (get lost). The complexity of the rhythms need to gel for it to work. The are little pauses throughout, but those are built in.

To add variety to the straight call and response, measures 9-15 have both instruments playing together. I liked this section so much, that I used again with slight variation towards the end. The tonality is fairly static, mainly built around G and D, but there is so much rhythmic interest, that tonality serves as a stabilizing force.

To see and hear what I have discussed, go to http://www.cooppress.net/adages_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Adages for Violin and Tuba Movement 4

2010-07-23T08:16:00.000-07:00

"Every cloud has a silver lining" is the basis for movement 4. The adage is very easy to understand as it simply tells us to look for the good within our trials and tribulations. But sometimes we need help in order to find the good, so the idea of a prayer setting came to mind.

The movement is mostly in 3/4 with a few meter changes to 2/4 and 4/4 to add a little variety. It begins with a two measure introduction for tuba alone that hints of the varied meter that will be used again later in the movement. In measure 3, both instruments begin the prayer in harmony with only minimal counterpoint during the sustained notes. The harmony alternates between minor and major portraying both sadness and hope. Measures 12-16 contain wandering chromaticism and the ties over the bar lines that disguise the 3/4 meter. This section represents the person being lost and trying to find his way. By measure 18, things settle down again as a variant of the opening ten measures occurs. The ending also reinforces the minor and major modalities once again showing hope within the sadness.

As I am writing, I find myself being influenced by some ideas about book writing that I heard and read about, as I am also trying my hand again as an author, this time a story about camping with our two cats. The ideas are by Tom Bird. Tom emphasis getting more into the right brain and allowing the ideas to flow without allowing the left brain to be too judgmental. While I already compose that way, I found that I am relying more on my ear to tell me what comes next and I really listened to it and wrote down what it was desiring without questioning it. To my surprise, what my ear was telling me had even more unity and variety than what my left brain would have created. Of course, I still needed to refine a few spots using both my left and right brain after the movement was complete, but what resulted seemed to have a higher level of perfection than some of my other works. All this fits in well with the "Inner Game" concepts of Tim Gallwey and Barry Green, with whom I had taken workshops. It was nice to experience the joy of free-flowing creativity that one does not always have when composing. If you are a composer or performer who struggles with being freely creative, I encourage you to pursue the offerings of the above mentioned names.

To see and hear what I have discussed, go to http://www.cooppress.net/adages_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Adages for Violin and Tuba Movement 3

2010-07-22T08:21:00.002-07:00

For my third adage to represent with music, I selected "Time flies when you are having fun" or as Kermit the Frog might say, "Time's fun when you are having flies." The first thing that came to mind when reading this adage was the similarity between it and a musical scherzo. The scherzo is at a fast tempo and is usually light and humorous, or in other words, fun. After composing the movement, I envisioned children playing a game of tag with their relentless energy, teasing and taunting, and twists and turns.

I chose the 6/8 meter because of its division of three parts to each beat, which gives a feeling of rolling forward. A playful violin melody with the tuba harmonizing with a short note on each beat is used to begin the movement. In measures 5-8, there is a sudden shift of tonality as if the children are trying to avoid being tagged. In measures 9-14, the violin and tuba alternate phrases suggesting that the person who is "it" cannot catch up with the one he wants to tag. The music becomes louder and more accented in measures 15-22, as the teasing and taunting begins. The violin plays double stops that contain dissonance and the tuba responds with short notes as if sticking his tongue out. Measures 23-37 is a repeat of the opening material but with the violin and tuba parts exchanged as we have a new person as "it." The violin also plays pizzicato for additional variety. The taunting and teasing returns in measures 38-45 with a slightly different harmony in the violin double stops. The closing measures have the violin and tuba chasing each other again but with a little more silence between the phrases towards the end as the children's energy is fading. The last note is the children collapsing on the grass from shear enjoyment.

To see and hear what I have discussed, go to http://www.cooppress.net/adages_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Adages for Violin and Tuba Movement 2

2010-07-20T07:46:00.000-07:00

The second adage that I gave a musical treatment is "absence makes the heart grow fonder." This adage suggests both longing and love. After selecting a slow tempo with five beats to a measure, I began with the violin playing double stops of perfect fifths. This open sound, along with its inversion of the perfect fourth create a hollow quality that was perfect for representing longing. The tuba enters at the end of the second measure with a lyrical melody, that also expresses longing because of the descending intervals at the end of the phrases. In measures 9-12, the violin and the tuba share a love duet before returning to a variation of the longing section. The last four measures is an exchange of endearments as the lovers sign off until the next communication.

To see and hear what I have discussed, go to http://www.cooppress.net/adages_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Adages for Violin and Tuba Movement 1

2010-07-19T07:52:00.000-07:00

I have received a commission from Marcy and Kenyon Wilson to compose a duet for violin and tuba for a premiere at the Southeast Regional Tuba and Euphonium Conference being held in Chattanooga, TN March 10-12, 2011. One evening, as I was trying to fall asleep, the idea of using adages for the movement titles popped into my head. The next day, I googled "adages" and printed a list of 70 to choose from. I then narrowed the list down to six that seemed to suggest musical treatments. I'll keep you in suspense as to what the six are and will reveal them as I write about them here.

The first one I chose was "The grass is always greener on the other side of the fence." Since the theme of this adage in envy, I decided to have the tuba imitate the violin as if copying the movements and actions of someone who is admired. Yet the message of the adage is that we should be happy with who we are and find our own special uniqueness.

The imitation during the first nine measures is two measures apart as if the tuba is wary to follow the violin too closely. Beginning in measure 10, the imitation becomes a measure apart as the tuba gains confidence. In measure 19, the violin begins a new idea with pizzicato, as if sensing that it is being followed and wants to distinguish itself as being different. The tuba is now only two beats behind and its staccatos don't exactly match the violin pizzicato. At the measures 26-30, the tuba finds its own voice, first by repeating three notes that violin did not do, and then taking off with a boisterous melody of its own. The violin is at first dismayed that it is no longer the leader and inserts pizzicato exclamations. In measure 31, the violin returns to the opening melody expecting the tuba to follow, but it does not. The violin keeps interrupting itself as if looking back over its shoulder to see where the tuba is until it completes its melody. The tuba then comes in on the last measure with its own idea that illustrates its new-found independence.

To see and hear what I have discussed, go to http://www.cooppress.net/adages_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Joplin rags arranged for Reed Quintet

2010-07-08T10:59:00.000-07:00

The last of my projects for the Hartt School Reed Quintet is an arrangement of three Scott Joplin Rags. Because these are so short, I was not as concerned about resting each of the musicians as I was in the Bach Orchestral Suite arrangement. My major focus was to achieve a variety of instrumental colors. It is very easy to transcribe a piano composition by giving the melody to the top instrument and so on down through the score. What is more challenging is spreading the melody among all the instruments and then adjusting the voicing to accommodate the displacement of the melody. The result is more fun to play and to listen to. When you listen to the arrangement, notice all the different colors I was able to achieve with the five instruments.

As with the Bach arrangement, I also adjusted articulation and dynamics to fit the wind ensemble. These are fun pieces that will definitely have great audience appeal.

To see and hear what I have discussed, go to http://www.cooppress.net/joplin_rags_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Bourrées and Passepieds

2010-06-30T14:39:00.000-07:00

I approached these last two movements in a similar manner to the other movements i.e. being sensitive to resting players, adding some dynamics, adapting the orchestration, and battling with articulation as the edition of the score I am using, which I believe is what Bach wrote, is very inconsistent.

In the Passepieds, I went back to using the soprano saxophone because the melody in the oboe during the second Passepied has no breathing places. By using the soprano saxophone, I was able to alternate the melody every four measures and allow the oboist and saxophonist a chance to catch his/her breath.

The second Passepied uses the melody of the first Passepied in the strings while the oboes play an obligato over it. The articulation in the string part was more consistent so I used that articulation for the first Passepied.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Menuets

2010-06-29T07:23:00.000-07:00

Transcribing Bach's music has given me even more appreciation for this great composer. His music is great not only because he has divine inspiration, but also because his music achieves perfect balance between strong harmonic progression and melodic interest of the individual parts. His music is unified through the use of repeated motives, yet has variety because the motifs are subtly varied. Even in these simple Menuets, Bach creates interest varying his melodic motifs and with subtle shifts in articulation and orchestration.

I kept the alto sax in the instrumentation and used the clarinet on the melody when I wanted to give the oboe a rest like in the first section of Menuet I, and marked the dynamics f the first time and p the second. I rest the bass clarinet during the second section of Menuet I until M. 18, where I rest the oboe instead for four measures. Here I use terrace dynamics to build from mp to mf and finally to f where the oboe comes back in. Menuet II was originally written for all strings at a p dynamic level, so the oboe rests the entire time.

I found the articulation in Menuet II interesting as the slurs do not always line up between parts. It seemed as though Bach was trying to emphasize the two note step-wise motif by slurring it, but it wasn't always consistent. I perceive his intentions as creating a subtle counterpoint using articulation and encourage the performers to emphasize these differences so that they do not sound like mistakes.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Forlane

2010-06-27T07:07:00.000-07:00

I find it interesting how each movement of this orchestra suite presents its own challenges for transcription. In the Forlane, the challenge was the continuous eighth notes in the 2nd violin and viola parts. There was simply no place to allow the wind players to breathe. I could have omitted some notes and inserted rests for places to breathe, but I opted instead for dividing each line between two instruments and overlapping the parts by one note to assist with continuity.

Since I needed more alto than soprano instruments, I had the saxophonist switch back to alto saxophone. The clarinet and saxophone alternate every measure on the violin 2 line. The bass clarinet and bassoon alternate every measure between the viola line and the bass line. Even though both these instruments are playing continuously, the bass line has places to breathe. In the second section, the alternation becomes two measures at times as the viola line got too high for bassoon.

Once more I added dynamics and articulation to assist with interpretation. The first section is f first time through and p the second. The second section uses one 4 measure f-p echo phrase and one 1 measure f-p echo phrase. Since constant eighth note pattern stops during four measures near the end, I used the last echo phrase as a place to change orchestration to allow the oboist its first rest during this movement.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Gavotte

2010-06-25T14:35:00.000-07:00

As you can see, I'm rolling along on the transcription. I approached the Gavottes in a similar manner as the Courante. I needed to adjust the appearance of the repeat signs because I wanted a different instrumentation on the first repeat and repeating to the first full measure and the use of first and second endings made the notation clearer. I went back to the repeats in the middle of the measure for the other repeated sections. The D.S. has the pick-ups to Gavotte I written out before the D.S. By the way, the D.S. does not occur in the playback of the file.

Another thing that I had to deal with was interpreting Bach's articulation markings, or maybe I should say this edition's articulation markings as I have no way of knowing for sure whether they were actually Bach's. It is during Gavotte II where the markings are unclear. Most of the time, two eighth notes are slurred. Sometimes, there is no slurring and other times four eighth notes are slurred. Was this a mistake or is there a reason for it? When the four eighth notes are followed by a half note, I perceived this as the main motive which I hear as being more separated, therefore no slurs looked and sounded correct. The four eighth note slurs are the ones I question the most as I cannot find a reason for the articulation change from two slurred. I decided to leave the notation as it appeared in the score and let the musicians decide if they feel all the articulations should match. The last articulation concern was the two same pitch quarter notes that are slurred in the bassoon part. This did not make any sense at all, so I changed it to two staccato quarter notes which seems to fit with what is going on around it.

I adjusted the dynamics in the first repeated section of Gavotte I to create an loud-soft echo phrase. The Gavotte II is marked piano and is essentially a trio of oboe, soprano sax, and bassoon with occasional insertions by the strings or in this case, the clarinet and bass clarinet.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Courante

2010-06-24T07:30:00.000-07:00

The Courante was much easier to transcribe than the Overture because it was shorter and less technical. I was able to do what I originally intended for the Overture in the Courante, i.e. using the soprano saxophone to enable the oboist to rest. The Courante was four voices throughout as the two oboes were in unison and doubled the 1st violin. I gave the bass line to the bassoon, the viola part to the bass clarinet, the 2nd violin to the clarinet, and divided the 1st violin part between the oboe and soprano saxophone.

My biggest challenge was to find the most appropriate places to switch between oboe and soprano saxophone. In the first section, I just made the switch at the repeat. I also added a dynamic change on the repeat, from f to p. In the second section, I made the switch on the 2nd beat of M. 17. I felt this is where the phrasing felt natural and also worked as another dynamic change for variety. I had everyone play from the eighth note pick up to M 22 to the end at a forte dynamic to end the movement with strength.

Bach's score has very little in terms of articulation. There are a few slurs that I preserved. I added a few slurs of my own on some rapid notes and trills. I also added the style description of Stately as all the remaining notes should be performed with a slight separation.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Overture completed

2010-06-18T10:12:00.000-07:00

I have completed the Overture and made one major change from what I posted last time. I found that I really needed another alto voice instead of the soprano voice so I changed the soprano saxophone to alto saxophone. In doing so, I had to re-score the first thirty five measures, but the change was worth it as it enabled me to keep everything within range and to rest each of the instruments more often.

I toyed with the idea of bringing the piece down a step to Bb major as the alto saxophone enters the altissimo register at one point and the bass clarinet gets into its upper register frequently. If I brought
the movement down to Bb, the bassoon would be at the bottom of its range a few times. I decided to hold off making this decision until I do the other movements as I would like to preserve key relationships between movements if at all possible. I also want to see how the quintet members feel about this transcription.

I did not change my thinking regarding articulation, dynamics and resting the musicians and hopefully the reader can see my consistent approach regarding these elements.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Transcription of Bach Orchestra Suite No. 1 - Overture

2010-06-09T11:09:00.000-07:00

Hello readers,

I have been busy of late doing several arrangements. Some have been fairly simple in that I have been taking some of my brass trio arrangements and converting them to a woodwind trio of flute, clarinet and bassoon. I did this at the request of Susan Maxwell, Instructor of Bassoon at Kansas State University. She plays in a trio of violin, clarinet and bassoon and the woodwind trio instrumentation adapts well for her group and is more common for potential sales of the transcriptions.

My latest project is doing several arrangements for the Hartt School Reed Quintet. This an excellent group of graduate students consisting of oboe, saxophone, clarinet, bass clarinet, and bassoon. The first piece I am working on is the Bach Orchestra Suite No. 1.

Since the instrumentation of the original is two oboes, bassoon and strings, I decided to use a soprano saxophone for one of the oboe parts as it will blend well with the oboe. Once I decided on the exact instrumentation, I had two other major problems to consider. The first is adapting the articulation for the instruments. I decided to leave the slow sections unmarked and just used Maestoso as a tempo indicator to suggest a detached, slightly accented style. I used two slurred and two tongued for the sixteenth note patterns in the fast section and slurred the two sixteenths into the next eight for that pattern. At this tempo, this simplifies the articulation for the wind players and is very idiomatic.

The second problem was to allow the musicians time to breathe and rest. Most of the Overture is in four parts even though there are seven different instrumental parts. The five instruments in the quintet enables me to rest someone every once in a while. My challenge was to keep everyone in a good sounding range if I rested someone. The instrumentation I chose has basically three soprano register instruments and two bass register instruments. Both the clarinet and the bass clarinet could be used for the viola line which is mainly an alto register instrument. For the slow section of the Overture, I used the clarinet for the viola line and doubled the bass line in the bass clarinet and bassoon. In measures 10 & 11, I was able to rest the oboe for a few beats by giving the bass clarinet the viola line. An oboist will have the most endurance problems in this instrumental combination as he/she needs to time to exhale the stale air in his/her body since so little air goes through the reed while performing.

At measure 18, the Allegro section, I have the soprano sax playing the first entrance, the clarinet playing the second entrance, the bassoon playing the third entrance (viola) and the bass clarinet playing the fourth entrance (bass line). This works well until measure 24 where the viola line became too high for bassoon. Here I brought the oboe back in and shifted everyone up a part and it gave the bassoonist a chance to rest.

When the piece becomes a trio at measure 29, I use the soprano saxophone for the 1st oboe part, the oboe for the second oboe part and the bassoon for the bassoon part. I marked the trio sections mp as opposed to the tutti sections as mf to help create the needed contrast. Both the clarinet and bass clarinet gets a little rest here. The only one who hasn't rested much is the soprano saxophone and I'll keep that in mind as I move forward.

As you can see, there is a lot that goes into making and effective arrangement. For now, I left the key as it was in Bach as it seems to work well regarding range and transposed key. If needed, I can change it to another key later.

To see and hear what I have discussed, go to http://www.cooppress.net/bach_orchestra_suite_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Partnering with Performers

2010-05-30T07:38:00.000-07:00

As artists, most of us are aware of the delicate balance that exists between being true to one’s art and meeting the desires of our audiences. However, these two philosophies need not be in opposition to each other. I feel that is important for all of us to create ways to unite these goals as the perpetuation of quality music depends upon it.

Being a composer, I often envision myself being in the middle of the traditional composer-performer-audience paradigm, instead of at the beginning. I am always looking for ways of how I can meet the needs of performers to help them communicate with and excite their audiences. As a result, I choose to invest all my profits from the sale and performance of my music and recordings into various programs I have designed to help the performer reach out to their audience with both new music and custom arrangements.

I invite all performers to visit my website at http://www.cooppress.net to look at our grant programs and free offerings as an example of some of these possibilities. Our programs assist performers with commissioning, recording, custom arrangements, and fundraising for non-profit organizations and schools. We would love to hear your ideas for anything else you think we could do.

I also encourage other composers to consider partnering with performers to help them reach their audiences and I hope that all performers will examine how working closely with a composer can benefit both their own musical development and that of their audiences. There is nothing more stimulating to an audience than hearing a piece of music for the first time and having the composer present to share insights into the creative process. In my opinion, it should a part of every program presented.

The Art of Composition

2010-05-05T11:18:00.000-07:00

I wrote this article for my Co-op Press Newsletter and thought I'd reproduce it here for those of you who do not receive the newsletter.

Dr. B

I have recently finished taking a course on North American Native American Art through the Yavapai College Osher Life-long Learning Institute where our teacher, John Acker, shared a definition of art as “combining what has come before into something new”. Immediately, I started to apply this definition to music and recalled a discussion that occurred on the Orchestra List News Group where it was pointed out that at many colleges and universities, potential composition students are not accepted because they believe in melody and tonality. It seems as though, beginning with the mid-twentieth century and continuing in our academic environments, newness is revered over sound artistic practices. As a result, anything that is rooted in music of the past is often rejected.

To illustrate this, I’d like to summarize two articles that appeared in the Music Educators Journal during the 1980s. In his article, “From Sound To Silence: The Classical Tradition and the Avant-Garde”, Robert Ehle states that there are two underlying basis of Western classical tradition; symbolic nature (program music, nationalism, etc.) and conscious craftsmanship. He later states that the downfall of the Western classical tradition is that the quest for new ideas without old associations has led to the abandonment of music as sound and the emphasis on music as pure idea. Roland Nadeau, in his article “The Crisis of Tonality: What is the Avant-Garde?”, illustrates Ehle’s points by pointing out that Schoenberg eliminated tonality, Bruitism (composition with noise) eliminated pitch, melody & harmony, electronic music eliminated traditional instruments and their players, Aleotoric music eliminated traditional form, and Cage eliminated composed sounds with 4’33”. Is the next step the elimination of the audience itself and is that already happening?

The discussion on the Orchestra List News Group illustrated that there are many composers writing music today who have not abandoned the traditions of music in order to create new and vibrant compositions. I highly recommend that every musician and music appreciator read Jon Winsor’s book “Breaking The Sound Barrier: An Argument for Mainstream Literary Music”. He gives credence to the definition of art that I heard in my art class and points the way towards a future of music composition that can create refreshing music without abandoning what has come before us. If you have a bias against all new music, please seek out these composers and give them a try. You will be glad you did.

Odds and Ends

2010-05-01T08:13:00.001-07:00

There are times when a composer does a lot of other things other than compose and this is one of those times. Since completing "Arizona Centennial Overture", one of the things I have been doing is transcribing some of my brass quintet and trio arrangements for woodwind quintet and trio. I feel there is a call for this repertoire and for the most part, these works adapt fairly easily. I also have been taking a transcription I made of Dvorak's five-movement Serenade for Strings for tuba/euphonium ensemble and converting it for brass quintet and then eventually woodwind quintet. This project is more difficult because I originally condensed the ranges to fit the tuba/euphonium ensemble and now I need to expand them.

Another project I am working on is adapting some of the duet compositions and arrangements I made for oboe and tuba, so that my wife and I have something to play together, so they can be played by any instrument. This has been a challenge because it is difficult to fit all the various ranges with one version. I am still working on how to do this without changing the sound of what I originally conceived. It is a work in progress and I'll let you know how I solve the problem if and when I do.

I find that my arrangements sell better than my compositions and it is through those sales that I am able to support the other projects my publishing and recording companies are involved in. I enjoy arranging and it is often a mental break from composing because I need to hold less in my head during the process.

I am still tidying up and adding things to my revised website. About two months ago, I moved by site to hostbaby which is connected to cdbaby and is designed with musicians in mind. Through this site, I am able to send html emails to my mailing list which contains over 500 names an easily target the subscribers by their areas of interest. I also get to list my CDs at cdbaby for free so it has turned out to be a real bargain as well as a convenience. If you haven't visited my website to see my creative marketing ideas, go to http://www.cooppress.net

As you can see, a composer often spends much time doing things other than composing. One must be creative in finding ways to distinguish themselves and must also be aggressive in marketing. I strongly urge all musicians to purchase and read David Cutler's book "The Savvy Musician". This book has been the driving force behind my recent efforts in marketing my compositions and arrangements.

Please let me know if any of these ideas are useful to you.

Dr. B

Words and Music

2010-04-25T11:21:00.001-07:00

And ever against eating cares

Lap me in soft Lydian airs.

Married to immortal verse

such as melting souls may pierce

untwisting the chains that tie

the hidden soul of harmony.

Milton

Several things are occurring simultaneously that prompts me to write this post. First of all, I am adding pages to my website for my vocal compositions where I provide the poetry that I used as the text. As I am doing this, I am reminded once again about the power of words to express ideas and emotions. Words are all around us, and I am hard pressed think of anything else that influences our lives more. But as Milton suggests in the above poem, when words are combined with music, their power is exponentially increased. This is one of three quotes from a book I found at a used book sale called “A Musician’s Yearbook, 1895”. I set three of these sayings to music in 1979 and I am providing a link to the setting of the Milton poem for you to hear. The Millersville University Choir under the direction of Walter Blackburn performs it. See if you think the music enhances the meaning of the words.

http://www.cooppress.net/fromthemusiciansyearbook3.mp3

However, words by themselves can certainly communicate ideas very effectively. Since I moved to the Sedona area of Arizona, I am in the process of re-reading J. A. Jance’s Ali Reynolds mysteries that are set in our area. I had read them a few years ago, but that was before I moved here. Now all the places that are describe are very familiar and my enjoyment is increased. They also reminded me of why I started this blog. In the first of the series, “The Edge of Evil”, Ali Reynolds starts a blog called cutlooseblog.com. In it, she addresses and number of things that were going on in her life and her readers responded with comments, therefore making the posts more meaningful. I thought that I might have something to contribute to the music world by writing my blog. I am hoping I am providing a useful service to composers, performers and appreciators of music. I can tell from looking at Feedjit, that my blog receives many visitors, but I get very few comments.

After re-reading the Jance book, I added a statement to by blog’s description that says “comments and questions will not posted unless you grant me permission.”

I would not have posted without your permission anyway, but maybe this statement would make you feel more comfortable with communicating with me. Here is a list of items you may wish to share your opinions on:

My composing process

If you are a composer, do you experience the same things? Do you do things differently? My readers and I would like to know what works for you.

If you are a performer and/or an appreciator, do my comments aid you in interpreting music in general? Do they help you understand the subtleties of music?

About my music

Do you like or dislike what I have composed? Are the examples helpful? Do you understand what I am saying? Is there anyway I can improve the blog to serve your needs?

About the subjects

Are there things that you would like me to address that I’m not already addressing?

Let’s all use the power of words to grow in our understanding of music through this blog. I know that it helps me understand what and why I did what I did when I compose. I hope that it has the same impact on you. The blog exists so that we can all learn from each other. Please join in the experience.

Challenges for the Future

2010-04-17T08:37:00.007-07:00

I have included this article in my free Co-op Press Monthly Email Newsletter and I thought I'd post it here for those of you not receiving the newsletter. If you would like to receive the newsletter, you can sign-up here.

Challenges for the Future

Someone on the TPIN Newsgroup recently referred readers to an article by Dyske Suematsu called "Why Americans Don't Like Jazz". The article raised a number of interesting observations regarding how people listen to music that can be applied to classical music as well as jazz. To read the entire article, go to http://dyske.com/paper/778. Here is a summary of the articles salient points:

1) Most people listen to music for the lyrics rather than the music.

2) Appreciating and enjoying instrumental music requires abstract thinking.

3) Abstract thinking takes effort on the part of the listener.

4) Music videos have relegated music to a background role.

5) For young people, music has become mostly a visual experience.

6) As a result, most people cannot turn off their own thoughts and allow abstract art to affect their emotions.

7) Because instrumental music is abstract, listeners cannot understand its intricacies. They need lyrics to tell them what and how to think.

8) If a song has any musical substance, it can be played on a piano and still deliver its message. Consider today's rap music regarding this statement.

9) To reverse this trend, instrumental music should be the dominant teaching in our schools for both the classroom experience and performing groups.

It is my opinion, it is the responsibility of all of us to do whatever we can to see that the art of music survives. We must be active in preserving music in our schools and communities, especially in an economic downturn. Classroom music, vocal and instrumental music programs should be encouraged not to water down our art by emphasizing whatever is already popular in order to achieve recognition. At the same time, David Cutler, in his book "The Savvy Musician", suggests that classical and jazz artists need to rethink the way they present their art to their audiences. In other words, can we as artists do something different that will reach our audiences where they are and bring them to where we want them to be? The future of music may depend on it.

Additional Resources On This Subject

Cutler, David. The Savvy Musician - This book contains great ideas on how to market and present music in order to reach a larger and more diverse audience.

Brandon, Sy. A Composer's Guide To Understanding Music - This book has activities that can help non-musicians gain ability and understanding to more actively listen to music.

Dr. B

Arizona Centennial Overture Completed

2010-04-15T06:42:00.000-07:00

Last week I finished creating pdf files of all the scores and parts, made mp3 files of the audio playback of each version, and exported the Sibelius files for hearing the music played with MIDI instruments while the music scrolls across the screen. I put all this on a CD along with notes about the different versions and program notes and mailed it to the Arizona Commission on the Arts. Therefore, I have officially completed the terms of the commission.

I have also contacted the AZ Commission on the Arts asking whether they have thought about offering the premiere rights to a specific organization and whether they plan on tracking performances. I have not heard back from them yet regarding this. I would like to attend as many performances as possible and would also be interested in conducting the work. The time frame is that the music would be made available for free beginning July 2010 and performances will be scheduled between September 2011 and September 2012. The actual Arizona Centennial is February 14, 2012. So even though the creation of the piece is completed, my involvement in the project is just beginning.

I am including the program notes below so that my readers can have a summary of what I attempted to do to represent the culture and history of Arizona in this seven minute composition. It was a pleasure to have created this piece and I look forward to my future involvement in the project.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html.

Dr. B

Arizona Centennial Overture

Sy Brandon

Program Notes

Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts to help celebrate Arizona’s centennial. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections.

The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition.

The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the “pioneer” melody as these culture come together.

The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close.

Arizona Centennial Overture - Chamber Orchestra Version

2010-04-01T08:29:00.000-07:00

Today, I completed the last of the four versions of Arizona Centennial Overture. This version is for a reduced orchestra of 2 each of the woodwinds, 2 Horns, 2 trumpets, one percussion and strings.

Compared to the full orchestra version, there is no separate piccolo part, so I had flute 2 doubling on piccolo. The piccolo is essential in the Hispanic section, so I revoiced some of the upper woodwind parts to balance better without the flute 2 part that has been replaced by the piccolo. Flute 2 plays piccolo from the Hispanic section beginning at measure 125 to the end. When essential lines were scored for just piccolo and two flutes, I used two flutes and an oboe instead.

The Horns were not affected much by the reduction of 4 to 2 Horns as Horns 3 & 4 were already optional in the full orchestra version. Losing the three trombones and tuba had a much greater impact. Since a lot of the lines were in three part harmony like the opening fanfares in the Horns and trombones, I needed to find another instrument to join the two Horns that remained. In most instances, it was the first bassoon that filled this role. Some of the tuba lines went into the string basses. Other essential trombone parts were already doubled by other instruments.

The loss of a third trumpet was mostly accommodated by putting the 2nd trumpet part in the 2nd oboe and having the second trumpet play the third trumpet line. The third trumpet line was often too low for the oboe and this was my solution. I think trumpets and oboe blend well. In fact, I often use a muted trumpet to play an oboe line if an oboe is not present, as the timbre is similar.

Losing three percussionists also had a big impact. I combined some of the essential percussion parts into the timpani part. The timpanist plays timpani at the beginning through measure 13, then switches to the cover the wood block/temple blocks in the Pioneer section. During the Native American section, the timpanists plays tom-toms and the rattle is covered by muted trumpets flutter-tonguing. The musician returns to timpani from 107 to the end.

When I was bemoaning to my wife about the loss of some of the percussion color, especially in the Hispanic section, my wife suggested adding optional percussion parts that could perhaps be played by orchestra board members or community leaders who read music, but don't play a chamber orchestra instrument. So I added two optional percussion parts that take minimal technique, but require counting ability. This way the rattle, claves, tambourine, bass drum, and guiro could be included in the chamber orchestra version. It still works without them, but they add a nice color.

My next task is preparing the score and parts for download and working with the Arizona Commission on the Arts regarding performances. I'll share more on this in my next post.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Orchestra Version Completed

2010-03-22T11:56:00.000-07:00

I have completed the full orchestra version and I am pleased with how the piece transcribed from the band version. Even though I lost some band instrument colors, the addition of the strings were a very welcomed addition. I especially like using pizzicato in several section. I used it for the down beats and off beats in the pioneer section, as a rhythmic and tonal filler in the Native American section, and for part of the bass line in the Hispanic section.

Native American section pizzicato

The biggest change in the Native American section is the transfer of the harmonized woodwinds at M. 85 to the strings. The homogeneous blending of the strings makes these passages rich and meditative at the same time. I also took the euphonium solo that occurs at measure 108 at put it in the cellos and 1st bassoon. The bassoon gives a little edge to the mellow cello sound.

In the Hispanic section, the 3/4 melodic line at measure 141 lent itself very well to the violins, as this is a color in Mariachi music. To add variety when the melody repeats, I harmonize it with cello instead of second violin. The winds are also doubling this melody and harmony.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Orchestra Version

2010-03-13T08:39:00.000-07:00

I have begun work on the orchestral version of Arizona Centennial Overture in between doing a major revision to my website. Since it has been a while since I have posted and I have finished scoring the Fanfare and Pioneer section, I thought I'd share some thoughts about the process of making this transcription.

My first consideration was which instruments from the band will not be used in the orchestra version. In the woodwinds, I will not be using 3rd clarinet, alto and bass clarinet, and saxophones. In the brass, the euphonium will not be used. I tend to write for standard orchestra because extra instruments means hiring more musicians and that places an extra burden on the resources of orchestras. It is often challenging enough to get performances without this additional consideration. The string family gives me an entirely different color to work with. My goal was not to just put the missing wind parts in the strings, but to create a valid orchestration as if I was writing for orchestra originally. This means re-scoring the wind parts as well. Additionally, I want to make the strings a focal point of the composition and not just an after thought.

While I am working on the score, I have left all the band instruments in place and just muted the ones that I will be omitting so that I can hear the balances during playback. The score is quite cluttered right now, so I will wait until I finish the transcription before posting audio and visual examples. The first section is the most difficult to re-score because it uses a wide variety and combination of wind colors. The strings are mostly used as reinforcement of the already existing wind lines. Both pizzicato and arco are used depending upon the line. The violins and violas take the clarinet trio part and measure 50. The absence of the 3rd clarinet has been one of the biggest challenges because in the band version the homogeneous sound of three clarinets needs to be broken up into a heterogeneous sound of two clarinets and another instrument. At measure 50, I just omit the clarinets and use the homogeneous sound of the strings. I also took the oboe solo at measure 39 and made it an oboe duet by adding a harmony part and then doubling it in the violas and cellos. This makes a nice rich sound.

Re-scoring the Native American section is next.

Dr. B

Arizona Centennial Overture - Easier Band Version

2010-03-01T09:52:00.002-07:00

I have completed the reworking of the more advanced band version into an easier band version. The instrumentation is the same. The ranges, particularly brass and saxophone have been adjusted, most of the time by taking passages down an octave. The technique has been simplified as follows:

Fanfare and Pioneer Section where quarter =120
- Four sixteenth notes are changed to eighth and two sixteenths or two sixteenths and an eighth. Below is an example where I divide the four 16ths giving two 16ths and an 8th to some instruments and 8th and two 16ths to others. The techniques is easier, but the sound still comes out like four 16ths. The first example is from the advanced version followed by the easier version clarinet parts at measures 9 & 10.

In the above example, I omitted the slur from the two 16ths to the 8th in the 2nd and third clarinets by accident. The advanced version uses the two slurred, two tongued articulation to make the technique more characteristic for woodwinds. In creating the easier version, slurring the two 16ths into the eighth is more characteristic. This is an illustration of why one cannot proofread their work often enough. It has now been corrected in the score.

- Some high woodwind trills are taken down an octave.
- Other woodwind parts are taken down a octave to avoid more awkward fingerings.
- Some brass parts are taken down an octave to make range and endurance easier.

Native American Section
- Flute solo simplified by removing most grace notes, changing the quintuplet to four 16th notes, and replacing 32nd notes with 16th note figures. The example below shows the advanced version followed by the easier version.

- Tom-tom figures simplified by replacing 32nd notes with 16th note figures.

Hispanic Section and Ending where quarter = 132
- Four 16ths replaced with 8th and two 16ths.
- Some brass parts are taken down an octave to make range and endurance easier.

The next step is to review the parts for formatting and any errors that may come to light. Then it is on to creating the orchestral versions.

To see and hear what I have discussed in previous posts, go to http://www.cooppress.net/aco_blog.html. Audio and visual examples are provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, this link will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The complete score is now transposed. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Second Step After Completion

2010-02-18T10:13:00.002-07:00

I decided that my second step would be to work on the parts for the advanced version. Sibelius software enables one to make changes in the parts and those changes will occur in the score as well, and vice versa. It also enables one to move things around in the parts without them moving in the score. I decide that I would format and correct the parts in the advanced version before working on the simpler version. After the parts are completed, I can then duplicate the file that contains both score and parts and the changes I make to simplify the score will also be made in the parts.

Part extraction is relatively simple, but a very important step for me. In addition to making sure that page turns work, it enables me to see the music from the perspective of each individual musician. I can more easily see potential performance problems that I might overlook in the score. I usually work from the bottom of the score to the top because occasionally a dynamic from the part above is attached accidentally to the staff below and I can catch this error before working on the parts above it. Below is list of changes I have made to illustrate how important this step is:

Percussion 2 - I realized that I did not list the guiro in the Percussion 2 instruments in the score part name.
Percussion 1 - I did not leave enough time for the player to change from snare sticks to mallets for the Wood Block or Temple Blocks at measure 16. I eliminated the snare part at measure 15 to solve this problem.
Timpani - I was able to check that all the pitch changes and notes are correct.
Tuba, Euph., Troms., Alto Sax 1, Piccolo - When Sibelius enters cues, it also shows the full measure rests in the part. I eliminated the full measure rests to make the cues easier to read as the may be played instead of just helping the musician count rests.
Euphonium - In measure 96, I brought some of the notes up an octave to set up the next measure. Otherwise there may have been a large leap to the high notes.
Horns - There were close intervals up high for the horns at the end of measure 179. I revoiced the chord to provide more space between the notes. Horns have enough of a challenge being accurate in the high register without worrying about whether dissonance is correct.
Alto Saxophone, Alto Clarinet and Bass Clarinet - These parts needed to have the page turn after page 2 instead of after pages 1 & 3. If taped or copied back to back, pages 1 and 2 would be adjacent to each other and pages 3 and 4 adjacent to each other. The entire 11X 17 page would be turned after page 2. This is necessary because there were not enough rests earlier in the piece for these instruments to make the page turn after page 1.

While working on the parts, I was also looking ahead to where I might need to simplify the piece for the easier version.

To see and hear what I have discussed in previous posts, go to http://www.cooppress.net/aco_blog.html. Audio and visual examples are provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, this link will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The complete score is now transposed. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - First Step After Completion

2010-02-16T14:58:00.003-07:00

As I said in my last post, there is still a lot of work to be done so that this overture can be performed by many different musical organizations during the centennial. I struggled a bit with how to proceed in the most logical manner, since so many things need to be done. I decided that the first step was to determine the absolute minimum instrumentation needed to have this composition work and to insert appropriate cues in order to cover solos and other important parts in less common instruments. I did this by duplicating the Sibelius file containing the overture, renaming it "minimum instrumentation", and muting the optional and less common instruments. I was able to tell where I need to add cues and/or change the voicing of some of the chords so that the piece can sound complete with less instruments. It is difficult to predict the instrument strengths and weakness of every group that will want to play this overture. For example, there was a while when public schools in Pennsylvania were experiencing large shortages of trombone players. Another example is the band that I play in now has a shortage of percussionists. But I think these problems are less frequent than not having double reeds or even French Horns.

While I was doing this step of reworking the orchestration, I began to prepare a document that will outline the possibilities to potential performing groups. Here is the excerpt regarding instrumentation:

Full Instrumentation – pic; fl. 1 & 2; ob. 1 & 2; bsn. 1 & 2; Bb cl. 1, 2, 3; al. cl.; bs. cl.; al. sax. 1 & 2; ten. Sax.; bari. Sax.; trpt. 1, 2, 3; hn. 1, 2, 3, 4; trom. 1, 2, 3; euph BC and TC; tuba; timp.; perc. 1 (SD, Temple Blocks or 2 WB, claves, tom-toms); perc. 2 (BD, rattle, tamb. guiro); glock.

Minimum Instrumentation - pic; fl. 1 & 2; Bb cl. 1, 2, 3; bs. cl.; al. sax. 1 & 2; ten. Sax.; trpt. 1, 2, 3; hn. 1, 2; trom. 1, 2, 3; euph BC and TC; tuba; timp.; perc. 1 (SD, Temple Blocks or 2 WB, claves, tom-toms); perc. 2 (BD, rattle, tamb.); glock.

Can even be played without Horns, Bs. Clar., and Bari. Sax. if necessary as the following solos are cued:
Oboe solos are cued in Al. Sax. 1
Hn. 1 solos are cued in Trom. 1
Important Bs. Cl. Are cued in the Euph. Or Tuba part

I also decided to make the score size 8 1/2 X 14 (legal size). I left each instrument on a single staff as combining two instruments onto a staff would make the score more cluttered to read due to the stems of notes going in opposite directions. The staves are about the size of a miniature score, which is not too hard to read. If the conductor wishes to, he/she could have the score enlarged to 11 X 17 after download.

To see and hear what I have discussed in previous posts, go to http://www.cooppress.net/aco_blog.html. Audio and visual examples are provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, this link will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The complete score is now transposed. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Hispanic Section and Ending

2010-02-15T08:10:00.002-07:00

I have completed the overture and today I will discuss the "Hispanic Section" and ending. Audio and visual examples are provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, a link is provided that will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The score is now transposed.

The "Hispanic Section" was a lot of fun to write as I was very influenced by Mariachi Music, which is very sunny and optimistic. This section is very basic harmonically as it uses mostly I, IV, and V chords in major. In order to make it more interesting harmonically, I changed keys five times within the one and a half minutes of this section.

This section has two melodic ideas. The first is a festive melody in the trumpets and clarinets in 4/4 meter.

After an interlude of alternating 3/4 and 6/8 meters, the second melody is in 3/4 time over a syncopated accompaniment that continues the alternating meter feel occurs.

I repeat twice the syncopation at the end of this melody (not shown in the above example), each time up a step, to lead the listener into the ending.

The ending borrows fragments of the celebration fanfare from the beginning of the piece at measures 179 and 181. It is answered by a fragment from the "Native American" section in measures 180 and 182. Measures 181 and 182 are up a minor third from measures 179 and 180. Measures 184 and 185 are from the "Hispanic Section". It was my intention to create and ending that reflects the coming together of cultures in a celebration of what Arizona is today.

There is still a lot of work to be done so that this overture can be performed by many different musical organizations during the centennial. I will be discussing the process during my next posts. I welcome my readers comments at any time.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Native American Section Revised Again

2010-02-11T08:06:00.003-07:00

I have taken a break from composing to work on my income taxes and now I'm back to discuss yet another revision to the "Native American Section" of this overture. Audio and visual examples are provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, a link is provided that will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The score is in concert pitch.

The section from measures 85-103 was not quite right. When I first composed this section, I wanted a strong, noble, harmonized idea to contrast the single line flute and drum section that precedes it. What I came up with was nice, but the more I listened the more it sounded out of place. When my wife listened to it, she agreed with me. (By the way, I always find it helpful to have an extra set of ears to listen when I am composing a piece. When I am so immersed in a composition that I live with day in and day out, those extra ears can give a fresh perspective.) I tried several things to revise this section including removing the harmonized material and doing more with the single line idea, but I could not get the harmonized idea out of my head. I finally tried changing some of the harmony to use less triads in 3rds. I replaced these chords with more open sounds like chords in 4ths and 5ths. I also changed the dynamic from f to mp and thinned out the orchestration. The result is a noble section that transitions better from the single line melody. Here is an example of the new chords for the harmonized, noble section. The top two parts are oboes in treble clef and the bottom two parts are bassoons in bass clef. These parts are doubled in the clarinet family.

Another thing that has had me concerned is that I may be leaving out representing important cultures in this overture. I am a fan of watching KEAT's Arizona Stories and last Tuesday's program had a piece on the importance of the Chinese in settling Arizona. But how can I include a section for each influential culture in a six-minute overture? The answer is that I can't. But what I had in mind was that the "Pioneer Section" would pay tribute to those important influences that preceded Arizona's statehood. In many ways, this section, while composed to sound "western"representing the open land, also has characteristics of many different cultures. The horse-hooves can represent the ranchers and farmers. The minor quality of this section can represent the dangers faced by the miners. The parallelism in the harmony sounds almost Chinese. I hope that listeners will hear this section as being inclusive of all the pre-statehood influences and hear it as a tribute to all the cultures that make Arizona what it is today.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Native American Section Revised

2010-02-03T13:54:00.001-07:00

Today, I will be discussing my revision to the "Native American Section" of this overture. Audio and visual examples will be provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, a link is provided that will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The score is in concert pitch.

In working on the third section (Hispanic Influences) and the ending, I began to feel that something is not right with the end of the Native American section. When I first composed the Moderato part (measures 107-116), I felt it was too short, but decided to let it go until I got more of the next part done. The Hispanic section came quickly and as I was thinking about how to end the piece, I thought I would try to combine themes from all three parts as a way of illustrate the mix of cultures that makes Arizona what it is today. (I will talk about and include examples of the Hispanic section and end in my next post.) In doing this, I used the Moderato of the Native American section and added some phrases from the Pioneer section. I then realized that the melody I created for the Moderato section sounded very angry because of emphasis on the minor mode. I did some more listening on youtube of Southwestern Native American music and then created a new melody that avoids the tonic pitch in minor. This new melody is more contemplative than angry. I also realized that returning either to the Pioneer section or the Native American section was anti-climatic, especially after the bright and festive Hispanic section. It was then that I realized how to expand the Moderato section when it first appears. I took what I wrote for the ending and inserted it into the Moderato. The result is better balance and a smoother transition. The Moderato is now twice as long. The first phrase is euphonium solo with drums. The second phrase is euphonium and trombones playing the melody with a flute counter melody. The third phrase is a French Horn solo and the fourth phrase is like the second except the motive from the Pioneer section is added in the trumpets and clarinets.

Below is the new melody I created for the Moderato section. It occurs over a steady beat in the tom-toms and timpani. To break up the regularity of phrasing and to make it sound more improvisatory, I add a few beats of drums alone at the ends of phrases. Sometimes it is two beats and other times three.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Native American Section

2010-02-01T14:18:00.001-07:00

Today, I will be discussing the "Native American Section" of this overture. Audio and visual examples will be provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, a link is provided that will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The score is in concert pitch.

I have incorporated Native American influences into several of my compositions as I am very inspired by the music. Each time, I am faced with the challenge of making the music my own and yet retain the characteristics of their music. Sometimes I harmonize the monophonic lines or create a counterpoint to the monophonic line. For this overture, I created a monophonic flute melody that has a lot of grace notes reminiscent of bird calls (measures 78-84).

In the silences, I inserted tom-tom and rattle sounds in the percussion instruments. A guiro could be used as a substitute for the rattle if necessary. After this quiet section, a noble melody that is harmonized with a combination of chords in thirds and fourths is introduced. The phrases of this melody are broken up by a return to sections of the flute and percussion "bird call" idea (measures 85-103). Measures 103-106 brings back the solo flute and percussion. At measure 107, the tempo changes to Moderato. Tom-toms and timpani are used to created an ostinato and a new monophonic, chant-like melody is introduced in the baritone horn. At measure 112, this melody repeats with trombones doubling it and a contrapuntal flute melody reminiscent of the early flute melody is added. There is an accellerando at the end that leads into the new Hispanic Influence section and a change of key.

When my wife listened to this section, she raised the question of what to do when I transcribe this for chamber orchestra where only one percussionist is likely. This got me thinking of how I can use the rest of the orchestra to do percussion sounds. In the Pioneer Section, the horses hooves are very important and I thought I could do that by having the string instruments knock on the wood body of their instruments. In the Native American Section, I can use the timpani for the tom-tom sounds and I could use muted trumpets flutter-tonguing for the rattle sound. I even incorporated the muted trumpets flutter-tonguing into the band version.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html . If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Pioneer Section

2010-01-28T07:33:00.002-07:00

Today, I will be discussing the "pioneer" of this overture. Audio and visual examples will be provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, a link is provided that will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only. The score is in concert pitch.

The "pioneer" section pays tribute to the early settlers (ranchers, farmers, miners, and merchants) who paved the way for Arizona to become a state. I tried to create a rustic feel to this section. I did that through the use of open harmony (chords in thirds, fourths, and fifths), sparse orchestration, and the use of wood block in the percussion to imitate horses' hooves.

The phrasing of the basic idea of this section can be called a contrasting double period. There are four short phrases. The first two ask a question (antecedent phrases) and the last two answer it (consequent phrases). The first and third phrases are different, therefore it is contrasting. Each phrase is interrupted by the downbeat/upbeat accompaniment figure that also uses the wood block horse-hooves sound. Also notice the shifting meters to create variety.

The next eight measures uses the same thematic idea, but this time it is harmonized. The accompaniment figure is also varied to create contrast and interest.

Beginning at M. 39, a new, lyrical melody in a constant 4/4 meter is introduced in the oboe over the downbeat/upbeat accompaniment. When the oboe line sustains, other instruments play a phrase from the basic idea of the last 16 measures. The lyrical melody is a three-phrase group. It is similar to a blues melody in that it has three phrases and is 12 measures long, but that is the only similarity. The sustained lyrical melody contrasts nicely with the shorter, interrupted phrases that precede it. At M. 50, the melody is now in the clarinets and is it harmonized and embellished. At M. 61, the lyrical melody incorporates the rhythm of the shorter, interrupted phrases to give this section more jauntiness. This section is more thickly scored and contrapuntal as fragments of the short melody are used when the main melody has a longish note. At M. 71, this section begins to wind down by fragmenting the melody and using the accompaniment alone for several measures. It cadences in G minor to set up the next section that will pay tribute to the Native Americans of our state.

I worked very carefully on the orchestration of this section. Having played tuba in an orchestra where counting rests is the main activity instead of playing notes, I try to give everyone in the group something interesting to play. I am also thinking ahead to the versions I need to create so that bands and orchestras from high school level on up can participate in the celebration. The third goal was to create interesting colors using the available instruments. Listen carefully to the orchestration of this section. Very rarely does the full band play together.

To see and hear what I have discussed, go to http://www.cooppress.net/aco_blog.html. If you would like to receive notifications of new blog posts, sign up to follow this blog.

Arizona Centennial Overture - Fanfare Section

2010-01-20T11:34:00.004-07:00

I will be discussing the first minute of this overture which contains the "fanfare of celebration" section and the transition to the beginning of the "pioneer section". Audio and visual examples will be provided to illustrate my discussion . Since blogspot does not have the capability of including audio examples, a link is provided that will navigate you away from this blog. To return, use your browser's back button or click on the Composing Insights link on the audio page. You will have two choices to hear the audio examples. The first uses a free Scorch plug-in that will enable you to see a scrolling score as you listen to the audio example. The second is an mp3 file of the audio only.

First, let me have you listen to measures 1-28 before the discussion. Go to http://www.cooppress.net/aco_blog.html

My compositional style can best be described as conservative 21st century. This means that melody, harmony, counterpoint, and form, etc. are treated as an extension of what has come before, rather than a rejection of tradition. For example, my harmonic language tends to avoid extreme dissonance and while it is non-functional ( avoiding traditional chord progressions), harmonic rhythm and concern regarding the movement of chord to chord are important. My chords are mostly triadic with a strong preference for modes that have a lot of minor triads. I tend to avoid major triads mainly because of there strong connections with a sound often associated with earlier styles. But minor triads do not suit well for a celebratory piece. To solve this problem, I found myself using a lot of three-part chords built in perfect fourths. This sound added the necessary brightness for the celebration. Measures 2, 4, 8 and 9 have chords built in 4ths.

After the opening horn and trombone fanfares that are answered by trumpets, woodwinds, low brass and woodwinds, and percussion, the excitement builds with short scale-wise passages, first in the clarinets and flutes, then in the lower instruments, and finally throughout the band.

The transition to the pioneer section involves down and off beats augmented by the use of wood block or temple blocks in the percussion to represent horse's hooves. This accompaniment idea then alternates with a "Coplandesque" melodic/rhythmic figure in the solo trumpet and flute. The melody is later harmonized with the same harmonic language discussed earlier using piccolo, flutes and trumpets. The accompaniment idea also uses the triads and chords in fourths. Notice the variation in rhythm and phrase length during this section. Composers try hard to have there music sound unified yet at the same time not become too predictable. I feel that this section achieves that balance.

Please share your comments and questions. They are always welcomed.

Dr. B

Arizona Centennial Overture Preparation

2010-01-18T13:55:00.000-07:00

I have planned my sections for my "Arizona Centennial Overture" which is being composed as a result of a commission from the Arizona Commission on the Arts. This 5-7 minute overture begins with a fanfare section that is celebratory. It then transitions into a section representing the pioneer days before Arizona became a state. The next section honors the Native Americans who were and are still a vibrant part of Arizona's culture. The Hispanic influence will be represented in the next section. The piece will close with a celebratory section acknowledging the coming together of various cultures.

I have begun composing the piece and it is going well as I am very excited about this work. I have completed the opening fanfare section and I am now working on the "pioneer" section. I will be discussing what I have written in future posts, but now I'd like to address some practical matters regarding setting up the score.

Part of the commission requirements is to create a work that is playable by high school, community, college/university, semi-professional, and professional bands. As you can see, there are different ability levels and instrumentation within these groups, so I really need at least two versions of the piece, one to challenge the higher levels, and one playable by groups with instrumentation gaps and players of lesser ability. I would also like to create a version of the piece playable by orchestras with their different levels of ability and instrumentation so that orchestras can participate in the celebration as well. For composing purposes, I have set up the score so that each instrument has its own line. I have 16 woodwind parts, 12 brass parts, and 4 percussion parts resulting in 32 staves. Some of the instruments are optional to accommodate groups with one oboe instead of two, one bassoon instead of two, no alto clarinet, and two Horns instead of four. I need to be careful when scoring to make sure that these optional parts do not contain anything not covered by another instrument. I also need to be concerned about balance so that the piece sounds good by groups with and without these optional instruments. I will also be inserting a lot of cues so that parts can be covered by other instruments if necessary.

The piece will be made available as a free download at the Arizona Commission on the Arts website to anyone who wishes to perform it. I am using an 11X17 score size for composing purposes, but this size is impractical for downloading as most printers do not handle 11x17 paper. In addition, I need to create some ossia versions of technical passages which will require extra staves. To solve the downloading problem, I have decided to have my final score size be legal size (8 1/2X14) and to put several instruments together on the same staff like 2 flutes on one staff, etc. The parts will still be separated for the musicians, as reading parts with two instruments on the same staff can be challenging. I should be able to reduce the score down from 32 staves to around 20 and it should be readable on legal size paper. I also plan to have at least 4 different scores and parts available to accommodate the various levels and instrumentation. With technology, this is not too difficult to do, but I am planning for it now so it will be easier.

Since I am composing on a score size of 11x17 and will not make the reductions until after the work is complete, I need to find a practical way of sharing on this blog what I have written while I am composing the piece. It is an impractical size for viewing here as everything would be too small (about a half inch per stave) and one would need to scroll a lot to see the full score. I am thinking about using pdf files of sections of the score to illustrate what I am discussing along with embedded mp3 files for listening. Please let me know if this works.

Dr. B.

Happy New Year and 60X60

2010-01-04T15:57:00.003-07:00

I wish all my readers a very Happy New Year! May 2010 bring you all that you wish for.

I was inspired during the second half of December to compose a piece to enter in the Orchestra 60X60 Composition Competition. This unique project selects 60 one minute or less compositions and combines them into one large piece that will be played by several orchestras around the world and broadcast on many radio stations. The idea of creating a one-minute piece intrigued me because there is not much time for development of ideas. I came up with the title "Vortex" after doing a crossword puzzle where this was the answer to the clue "eddy". A trip down the Colorado River through the Grand Canyon is what came to mind immediately. The danger and excitement of the opening measures give way to a playful woodwind canonic section. The mood changes often reflecting the fickleness of the river, but the overall tension of a hidden vortex is always present.

I was pleased with the result. To my surprise, the piece is cohesive yet interesting. It was challenge to limit myself to less than a minute and I think it is a worthwhile activity for all composers to do.

Since I am entering the work in a competition, I am not providing a link for you to see and hear the piece. Once the competition is over, I will provide the link.

Dr. B

Grass Roots Ending Revised

2009-12-24T08:35:00.003-07:00

I played Grass Roots for my wife yesterday and she had some suggestions for a better ending. She felt that after the tuba flourish near the end that the last measures were an anti-climax. I had to agree with her and after about an hour of trying different things, I felt that I came up with a stronger ending. I would be interested in hearing your thoughts as well.

This new ending incorporates the syncopated rhythm introduced at the Majestic section at measure 79 and also ties things together harmonically by borrowing chords from the modes used in this final section.

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

Arizona Centennial Commission

2009-12-18T12:37:00.002-07:00

I just received word that I won the Arizona Centennial Commission's Composition Commission to write a new band composition to celebrate Arizona's 100th Anniversary in 2012. The piece is to made available to high schools, colleges/universities, community bands, and professional/semi-professional ensembles throughout the state, so I should get many performances. In addition, I will receive $5,000! I was selected out of the many Arizona composers who applied for this project, so the competition was stiff. The judges were professional musicians and conductors from Arizona. I will be working on the piece during the first part of 2010 as it needs to be completed by June.

The piece that I envision writing, would be a five-minute composition called “Arizona Centennial Overture”, celebrating the various cultures that make Arizona a unique blend of old and new. Sections of the overture would depict the indigenous cultures, the Spanish and Mexican heritage, the early pioneers, and finally, the recent diverse population growth.

I am also excited because I should get some good publicity and recognition as a composer in my new home state that may lead to other opportunities. I am humbled and thankful for this opportunity.

May my readers be blessed with a joyous holiday season and a wonderful 2010.

Grass Roots 3rd Movement Continued and Completed

2009-12-04T09:02:00.005-07:00

I have completed the 3rd movement of Grass Roots and therefore the entire piece. The third movement is not only a "Manifestation", but a triumph. The "Manifestation"is represented by the rich harmonies and lyrical lines. The triumph is represented by the gradual increase in intensity as the movement unfolds. The increase in intensity is accomplished through the use of slight increases in tempo, changes in tessitura, increase in dynamics, and shortening of measures (6/8 to 5/8).

I continue my discussion of this movement with the section from 35 to 59. This section depicts a sense of grandeur, reflective of the awe-inspiring scenery of the National Parks. The tuba and left hand of the piano alternate phrases frequently in this section. The right hand of the piano fills in the lush harmony with an arpeggiated figure. When I first composed this section, it was 8 measures shorter. After I arrived at an end of the piece, I felt that I needed to add something here to balance the other movements as the movement was ending too soon. Therefore, M. 41-48 are repeated at 49-56 with some slight variations.

M. 56 begins the triumphant section. The tempo increases, measures are shortened, range is higher and more dotted rhythms are used to create the excitement.

M. 79 is the culmination of the excitement. The melodic line is even more syncopated and both piano and tuba have final flourishes expressing triumph.

I usually struggle with endings and this piece was no exception. My first attempts were too abrupt so I added a repeat of M. 79 & 80 done solely by the piano at 81 and 82. I also added some notes to the piano part in the last three measures as the motion stopped more abruptly than what I had in mind. The ending now has the appropriate length and a sense of broadening towards the final notes instead of just stopping.

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

Dr. B

Grass Roots 3rd Movement

2009-11-27T09:39:00.005-07:00

I am about a minute and a half into the third movement and thought it would be a good time to pause and write about what I have accomplished. I did link the 2nd movement to the third by having the piano left hand sustain the dominant pitch C after the final chord of the 2nd movement. As this fades, the left hand continues with pyramid arpeggios and chords while the right hand answers with a more florid figure. The ideas develop and the hands change roles through measure 7 where the tuba enters with a variation of what the left hand did earlier. At M. 15 the ideas repeat up a half step. Although the meter is 6/8, the regularity of the 6/8 pattern is broken up with ties and syncopation, some which create more of a 3/4 feel against the 6/8. At M. 22, the meter is changed to 9/8 to break up the pattern even further.

It was about this point in the movement that I changed the movement's title. It was originally going to be called "Joining Forces". That title was only a working title as I knew I wanted something different. I had trouble with coming up with a word and figured if I just compose the music the title would come. I also felt that while the music was going well, I was a little unsure of the direction of the movement. If you remember, the inspiration for the entire piece was Ken Burn's film on the National Parks. While the piece can refer to the success of any social change, it is the power of those individuals with the vision of a park system that is being celebrated. So I wanted the last movement to reflect "America's Best Idea" and that gave rise to the new title, "Manifestation". It is the dream of many individuals coming into reality. My goal is to make the movement serene and awe inspiring.

M. 23 moves the piece ahead by using a development and elaboration of some of the ideas already presented. The piano accompaniment creates a 3/4 feel by alternating eighth notes between the hands. At M. 25, the pattern reverses itself for a measure to add variety. M 29 uses techniques such as inversion and retrograde of the tuba melody from M. 25 part of the time. This turning of the intervals upside down or doing some of the notes in reverse order adds variety but still keeps the melodic idea familiar. M 35 begins one of the awe-inspiring sections and I will talk about this when I do my next post.

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

Dr. B

Grass Roots 2nd Movement Completed

2009-11-19T16:25:00.004-07:00

It is interesting how I seemed to have struggled with thew beginning of this movement because ideas seemed to be slow in coming and all of a sudden, the ideas started flowing so fast, I didn't want to stop to blog about what I was writing until I finished the movement. The last time I blogged, I was talking about the section between measures 21 and 40 that I referred to as "quiet seething". Beginning at measure 41, the piano takes over the argument with only brief interruptions by the tuba, until the tuba renews its point of view beginning at measure 46.

The conflict winds down leading to a canonic section at measure 53. The three part canon is like thee voices presenting their argument. There are subtle variations in the presentation of the canon to make it work harmonically and to adapt it to suit the instruments. For example, the 4 repeated sixteenth notes that begins the canon are easy on tuba, but difficult on piano. They become 4 different pitches in the piano. It also adds a slight variation to the melodic idea. Notice that the canonic entrances are separated by an unequal number of beats. At 61 and 62, the right hand of the piano fills in the melodic line with some harmony. At 63, the canon begins anew, this time starting in the right hand of the piano and the entrances are a measure apart as the argument becomes more intense. When the tuba enters at measure 65, the canon loses a beat and becomes more syncopated and this new rhythmic variant of the canon is repeated in the other voices.

After the canon quiets down, measure 76 begins to recapitulate the section from 21-50. The tuba plays alone for around 10 measures with only short punctuations by the piano. Measure 105 presents the climax and coda of the movement. The glisses do not play back well on MIDI as they start immediately, where in a live performance, one would hear more of the initial pitch. I am thinking that I will write a transition from the 2nd movement to the 3rd movement as I don't want this movement to sound too final.

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

Dr. B

Grass Roots 2nd Movement Continued

2009-11-09T15:41:00.005-07:00

It didn't take me long to get over the hurdle of where to go next. The inspiration came while I was at concert of the Verde Valley Sinfonietta on Saturday Night. The 2nd piece on the program was a Mozart Clarinet Concerto and the first movement is a sonata form where the orchestra plays the themes then the clarinet. It was this simple form of repetition that gave me the idea of where I needed to go next in this 2nd movement.

I was originally thinking that I needed a change of thematic material at measure 11 where all I needed was a change in instrumentation. I put the tuba line from the first 10 measures in the right hand of the piano and gave the left hand a combination of what the two habns were doing before, although I used more left hand material than right hand. I also elaborated the right hand with harmony at times and extra notes so that the ideas flow a little more when compared to the first 10 measures.

I continued on at measure 21 with a quieter tuba line and a more flowing piano part. This section is like a quiet seething. The alternating eighth note accompaniment is varied as the hands switch beats after 2 measures. I expect to continue on in this manner for a while.

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

Dr. B

Grass Roots 2nd Movement

2009-11-07T15:03:00.004-07:00

Last night I had a dream that I was writing a clarinet concerto and the entire piece was there in my mind just waiting for me to write it down. I just wanted to get to my computer and get it all notated. In my dream, I commented to my wife that this is such a rare occurrence for me as composing is usually having a general idea of what I'm trying to achieve and then lots of perspiration figuring out how to make it work. Of course, when I woke up from this dream, I didn't remember any of the piece that was so clear to me while sleeping. This dream reminded me that some composers may receive such inspiration, but it has rarely ever happened to me. The closest I have come is when I was writing a piece for the Euphouria Quartet called "In Remembrance, September 11, 2001". The ideas for this piece just flowed so easily and served as an emotional release from that tragic time.

So back to reality and the beginning of the 2nd movement of Grass Roots. This movement is called "Conflict" and very generally depicts opposing forces in the debate to conserve our country's beauty and history for all to enjoy. My initial idea came very easily but it has taken me about two hours to write the first 10 measures. I have decided to blog today because of the contrast between my dream and reality. After working some this morning, I am now temporarily stuck. When I get stuck, it is usually time for me to take a break from the piece and come back to it with fresh ears. Hopefully tomorrow or the next day, I'll figure out what comes next. Sometimes that happens when I'm not even composing, like when I lie in bed waking up in the morning or taking a walk. A lot of times the problem gets solved by listening to what I have written over and over again. Occasionally I need to experiment with using some material from earlier in the piece, but I try not to construct my music. I prefer to let my ear tell me where the piece needs to go. On rare occasions, I discover that the what I have written actually works better later in the piece and I need to write a new beginning. My next blog will report how I solved this problem.

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

Dr. B

Grass Roots 1st Movement

2009-11-05T10:10:00.004-07:00

I have completed the first movement for now. The reason I say "for now" is that I'm not sure that it is complete until I finish the other movements.

The movement is very free in form although there is some repetition of material from time to time. But even those repetitions are varied. Since the movement is titled " A Voice in the Wilderness", there are certainly sections that evoke a sense of being a lone voice trying to accomplish a monumental task. Adding to the the uncertainty are several chromatic sections the evoke a sense of doubt. Lastly, there are sections of lyrical and harmonic beauty that try to depict the beauty of the land that is trying to be saved.

One challenge I was facing in this movement was to obtain rhythmic variety. Except for a few meter changes, the movement is mostly written in 4/4. However, one does not sense a strong metrical pulse because the phrases begin and end on different beats of the measure. I also changed tempo often to further disguise the regular pulse. a good example of both of these coming together is in measure 17 where the Ritard and the phrase end after beat 2 and the new phrase and tempo start on beat 3. The other part of the rhythmic challenge was the divisions of the beats as most everything was duple. Over the course of several revisions, I broke up the constant duple feel with the insertion of triplets and a quintuplet.

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

Dr. B

New Piece for Tuba and Piano

2009-10-28T10:15:00.005-07:00

I have been commissioned by Steven Maxwell, tuba professor at Kansas State University, to write a piece for tuba and piano. Recently, I was inspired by watching Ken Burns film on the National Parks broadcast on PBS. What really inspired me was the ability of individuals to garner support and preserve our natural wonders for future generations. This gave me an idea for the piece. I'm calling it "Grass Roots" and I'm thinking of three movements: "A Voice in the Wilderness" which we be slow and introspective, "Opposition" which will be fast, contrapuntal and more dissonant, and "Joining Forces" which will begin quietly and become triumphant.

I have begun the first movement and I am very pleased with how it is going. It begins very rubato with tuba being to lone voice in the wilderness with the piano serving as punctuations. When the tempo becomes steadier at measure 9, the beauty of the wilderness is reflected in both the lyrical line and the rich harmony. Measures 12 and 13 have some wandering chromaticism that hints at the uncertainty that lies ahead.

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

Dr. B

Concertino Completed

2009-09-28T14:02:00.005-07:00

I have now completed the "Concertino" as I also borrowed parts of the fast movement from the 1978 work for saxophone and piano. This movement was more difficult to work with than the slow movement because it had more extended sections featuring the piano. I decided to omit those sections and it balances the other movements very well. I also inserted a saxophone cadenza which was not present in the original work. Once again, I softened some of the dissonances, however, this movement is more dissonant than the other two movements. The staccato eighth notes often are more percussive than truly harmonic and adds rhythmic excitement to the movement.

There are once again, two main themes in this movement, the staccato idea, and the more sustained and lyrical idea. There is a development section in the middle. After the cadenza the opening material returns, but the sustained theme is varied quite a bit by giving parts of it to the saxophone over a triplet accompaniment.

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

Dr. B

Legacy for Quartet

2009-09-22T11:53:00.005-07:00

I promised that I would write about my re-scoring my orchestral composition "Legacy" for a quartet of clarinet, violin, cello and piano and the challenges I faced in order to accomplish this, so I'm finally getting around to it. "Legacy" is one of best compositions and it deserves to be heard more often than its first performance. It is extremely difficult to get additional performances by orchestras as most orchestras like to have the honor of the premiere and unless both the composer and/or the work becomes so well known, the work is likely to languish in the file cabinet. When I had the opportunity to compose a piece for the chamber ensemble "enhaké", I immediately thought of re-scoring this work for this excellent group of musicians.

Before I begin to discuss the challenges I faced, the reader may wish to visit my earlier blog on this work to gain insight into my thinking while composing this piece.
Here is the link http://composinginsights.blogspot.com/2007/09/legacy-general-description.html

The challenges fell into two main categories; what to do with the solo percussion parts and how do I cover all the important lines. When there were timpani solos, these were put in the cello or the left hand of the piano. Since fast repeated notes are difficult on piano, I often made the line more melodic. Non-pitched percussion solos like the ones in the toms were again given to either of these instruments. I created pitched lines for these.

Most of the time I was able to cover all the important lines. The greatest challenge was the loss of timbral variation that I had in the orchestral version. For example if I had a quartet of woodwinds playing a line in harmony, I needed to give it to all three monophonic instruments plus the right hand of the piano. I was able to use occasional double stops in the strings so the piano could do something else. In order to create some variety in timbre, sometimes the clarinet has the lead part and other times the violin. The extremely contrapuntal sections caused the most problem as I had to leave some lines out like in the Raga section at the end of the first movement, but I think the effect is still there. The musicians will also find themselves jumping rapidly back and forth between melodic material and background material as I needed all four instruments to play together very often just to cover the important parts of the orchestral piece.

I have some questions about bowings and articulations that are needed to have the group sound homogenious when require and to create the needed contrast when required. I have sent the score and parts to "enhaké" for their comments and I look forward to receiving their remarks.

To see and hear both versions, go to http://www.cooppress.net/legacy_blog.html

Dr. B

Concertino 2nd Movement

2009-09-14T10:38:00.005-07:00

For the second movement of Concertino, I decided to adapt a 1978 composition of mine that was composed for the Bilger Duo with orchestra. It was a two movement work, beginning with a slow movement followed by a fast movement. The idea of recycling some of my music is very appealing to me. With over 250 compositions to my name, it is not always easy to come up with original works. I have an interesting story to relate regarding this.

A few years ago, I was a visiting composer at Mansfield University where Dr. Joe Murphy was performing several of my pieces. Just before the concert, he was rehearsing my Four Spanish Dances for saxophone and marimba and the concert began with my Sonata for saxophone and piano. When the concert began, I thought he left the music to my Spanish Dances on the stand and started playing that piece instead of the Sonata. It turned out both pieces began almost the same way and I was unaware of this until I heard them back to back. I wonder how many other composers borrow unconsciously from themselves.

In the case of the Concertino, I am borrowing consciously. The original work has had one performance in 30 years! Since it just sits in my file cabinet, why not give it new life? There are some good ideas in this piece, but I am struck by two observations as I adapt it. First is the amount of dissonance that I found acceptable in 1978. In my adaptation, I removed a lot of the dissonance. The second observation is the immaturity of developing my ideas and my instrumentation. As a result, I removed the former concerto from my catalog and I'm using the material in this new setting. I will probably do the same with the fast part for the last movement.

The second movement has two main sections, a very slow and rubato section and a slightly faster contrapuntal section. At M 43, I removed a lot of the dissonant counterpoint and replaced it with some syncopated chords in the trombones and tuba that is echoed by the timpani. At M. 48, I used some of the counterpoint from the previous work and linked it together with shorter syncopated sections in the trombones and tuba and shorter answering in the timpani. This sections builds nicely to a climax. The movement returns to the free tempo and ends with a suspended resolution as it will go directly into the fast last movement.

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

Dr. B

Concertino First Movement Completed

2009-09-04T10:06:00.005-07:00

I have had some solid work sessions over the past few days and I have completed the first movement of my Concertino. I was correct when I said the vision for the structure would become clear when I completed the lyrical section. The lyrical section ends at m. 100 and I went into a short development of the four syncopated measures of the lyrical theme. The development is a short trio for saxophone, euphonium and percussion. After stating the four measures, I slip into a syncopated background figure that first occurs at m. 17. Following this interplay between instruments, a return to the full band playing material from M 16 fit nicely. I expanded the instrumentation and altered the solo saxophone part slightly during this recapitulation. I did not recapitulate the lyrical theme. Instead I brought the movement to a close with a three measure coda.

I plan to adapt a movement from and earlier composition for saxophone, piano and orchestra for the second movement. I'll begin working on that next week.

I have also completed two of the three movements of my adaptation of my orchestral piece Legacy for the enhaké quartet. This is going well and I'll blog on it and put up samples soon.

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

Dr. B

Concertino Continued

2009-08-31T10:08:00.005-07:00

I'm now about 1:45 into the piece and I am still unsure of the structure. The first agitated section has now wound down to a lyrical saxophone melody over a staccato bass line. The agitated section is exciting and colorful and it uses many motives in different settings giving it unity and variety at the same time. The lyrical section which begins at measure 60 provides contrast by thinning the texture and being more sustained. At 81, the flutes and oboes will do a harmonized version of the saxophone melody at 64 while the saxophone will fill in some of the sustained notes with noodling.

I like what I am writing but always feel unsure of the piece until I can see where it is going. I think that once I finish this next session, the structure may become clearer.

Your comments are always welcomed.

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

Dr. B

Concertino Continued

2009-08-19T13:52:00.005-07:00

I'm back from camping and have been working on the Concertino again as well as the adaptation of my orchestral piece, Legacy, for the quartet enhaké. I hope to post about the adaptation once I complete each movement.

The Concertino is coming along. The ideas are starting to flow more easily. The structure is still very loose and doesn't follow the typical concerto form where the ensemble presents the themes first followed by the soloist presenting the themes. In fact, this piece doesn't really have any themes per se, but rather a number of related motifs that are introduced by both the ensemble and the saxophone. As the movement is developing, the motifs are presented in varying order and with varying instrumentation. The motifs are often expanded therefore the structure is more like a development rather than an exposition. With this being said, I still feel that the piece is both interesting and cohesive.

I will probably fill in some instrumentation as the movement progresses and give it more of a shape with dynamics, but the basic thoughts are already notated.

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

Dr. B

Concertino for Alto Sax and Wind Ensemble

2009-07-29T13:30:00.003-07:00

I have started on the Concertino and have about 20 seconds completed. For me, getting started is always the most difficult. I find it difficult for two reasons. The first is that I fear repeating myself. One of the criticisms of art that I frequently hear is that it is not original. I take that as critics are always looking for artists to invent something new. I think this is where music went astray during the 2nd half of the twentieth century where newness was more important than quality. I think that traditional materials can be used in new and refreshing ways. The second reason is that my music tends to get too complex too soon. This saxophone Concertino exemplifies how I dealt with these two concerns.

I began by creating some of the melodic lines and scored them so that the saxophone and wind ensemble alternate with each other. The melodic lines are fairly simple and are characteristics of my style where I like minor modalities and slide easily between different modes and tonal centers. It is hard at the beginning to know if one is just being consistent with their style or becoming repetitive between each composition. But I soon find that each idea suggests its own treatment that is often different than anything I have done before.

After getting most of the melodic lines written, I began to fill in the harmony and orchestrate the ideas. Even though the meter for the composition is 2/2, the phrasing is in a pattern other than 2/2. For example, the beginning starts with a 3 beat phrase followed by a four beat phrase. When the saxophone comes in, the horns accompany the soloist with a rhythmic pattern that repeats every 2 1/2 beats. This creates a complexity behind what appears to be simple ideas. If I started with a complex melodic idea, the counterpoint and rhythmic transformations would not work as well.

I'm heading on a camping trip for two weeks to visit family. While I might not blog, I hope to get composing time in on both my projects.

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

Dr. B

I'm Back Composing Again

2009-07-24T14:25:00.003-07:00

Hello again to all my readers. I have now completed my move to Arizona and we have set up our new home and music publishing and recording business. Everything took longer than expected, but it is nice to be settled and we are enjoying being in the southwest.

I am now back composing. I am currently working on two projects. The first is a new concerto for alto saxophone and band for my former colleague, Dr. Andy Wen. Andy premiered my Lan Na Thai for Alto Saxophone and Pre-recorded sounds at the world Saxophone Congress in Thailand during July. The second project is a reworking of an orchestral piece of mine called "Legacy" for the award-winning chamber music group enhaké. The group consists of clarinet, violin, cello and piano.

This is the first time I have worked on two projects simultaneously. But since one of these is more arranging than composing, it should go smoothly. I'll be reporting on my progress with the saxophone concerto and linking to where you can see and hear this progress. As usual, I welcome your comments.

Dr. B

Moving to Arizona

2009-03-30T03:25:00.002-07:00

During April, I will be moving to Arizona. We have sold our house in Pennsylvania and will be camping until we find our new home. As a result, my composing activities have been put on hold. I hope to be able to do some composing while camping, but it all depends on how quickly we find a house. I'll be reading any comments that are posted during this time and will resume posting as I begin working on new projects.If you haven't had the opportunity to read my earlier posts, I suggest that you do so. There are a lot of ideas regarding composing and interpreting music that could be helpful for developing composers and to those just interested in learning more about music.

Dr. B

Contrasts Revised

2009-03-16T02:25:00.004-07:00

I heard back from John DelVento who had a few good suggestions to adapt the piece to his needs. The first suggestion was in response to my concern about range. The high Db in measure 48 was possible but would be a weak sounding note. Since I wanted this to build to the Allegro, I changed measure 48 to a 3/4 measure, left out the Db on beat 4 and altered notes on the 2nd beat. This accomplishes the drive to the Allegro I wanted in a similar manner.

I was also concerned about the range at the end of the piece, but John said this would be okay. But in looking at it again, I decided to take the first run down an octave which makes the ending more effective.

John also wanted more rhythmic variety in measure 102. Since I wanted a repeated note idea for the beginning of the canon, I broke up the constant 16th notes by putting a eighth note on beat 3.

The last revision was to add a ritard on beat 4 of measure 38 with an A tempo on measure 38. I like this change and it shows the musicality of John, who made the suggestion.

Composers should always be willing to adapt their music to the needs of their performers if it does not compromise in intent of the music. I also find that a objective 2nd party who can listen to my music with fresh ears can also be a benefit. I usually play my compositions for my wife who has come up with many fine ideas to improve my music. Even though I have been composing for 55 years, I still have things that I can learn from others. I thank all those who have offered suggestions over the years. Creating a musical composition is similar to an author creating a novel. If one reads the acknowledgments at the beginning of the book, one realizes that the final product is a result of many others who inspire or assist in the creation of the final product.

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

Dr. B

Contrasts for Euphonium and Piano Part 2 Completed

2009-03-15T07:38:00.006-07:00

I have now completed Contrasts with the exception of getting feedback from John DelVento. I have sent him a copy of the euphonium part for his comments.

I have continued the idea of contrasts throughout this second part. It is imperative that the performers observe the dynamics and articulations for the piece to have its maximum effect. The second part is in an arch form ABCBA where the C section serves as a development of ideas from the A and B sections. The C section also introduces a new thematic idea that is treated canonically. The euphonium uses double tonguing to introduce the canon and the piano uses staccato eighth notes as rapid repetitions of the same pitch are not characteristic of the piano. The sections of the second part are as follows: M. 49-50 transition from slow to fast section. M 51-79 A. M 79-97 B. M 97-101 transition to C. M 102-134 C (development). Of note in this section is the canon I described earlier and the use of the B theme over the canon beginning at M 118. M. 135-138 transition back to B (these contrasting measures are used often for transitions and surprise, like at 157-159 which brings the listener back to the A material). M.160-179 A. M 179-end concluding section or coda.

I urge all composers to format their own parts. When I do this, I see each part from a more linear perspective. While I was formatting the euphonium part, I discovered that I did not give the euphonium player as much rest as I thought I did when composing the piece. This raises a question of endurance and I am asking John to comment on this aspect of the piece. I think it will be okay as there are numerous short rests and two longer multi-measure rests. I became aware of this when trying to figure out where to put page turns. In one place (M. 116), I actually removed some notes from the euphonium part so that a page turn could be accomplished. I added some dynamics at that point to make the rest of it fit what I intended.

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

Dr. B

Contrasts for Euphonium and Piano Part 2

2009-03-02T12:25:00.007-07:00

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

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

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

Dr. B

Contrasts for Euphonium and Piano Part 1

2009-02-18T07:12:00.010-07:00

I have completed the slow section of this two-part piece and I am pleased with the results. However, I was not feeling that way while I was working on the piece. I mentioned in my last post that I was pleased with the beginning of the piece and will then need to see where the piece takes me. What I mean by this statement is that my music, as well as a lot of other contemporary music, is based on motives rather than themes or melodies that occur in regular phrases. Therefore the traditional formal treatments do not seem to apply and it is often unclear what structure the composition will take. It wasn't until Monday, when I reached the climax at measure 24, that the shape of this section became clear. This part is a loose ABA structure with the first A going from the beginning to measure 16, the B section from measure 17-25, and the last A, with some slight changes,from 26-42. A euphonium cadenza serves as an interlude to the upcoming Allegro.

The way each section is constructed is based on key motives that suggest new melodic ideas. The harmony is a result of the independent, yet related lines in the euphonium and in both hands of the piano. Let me identify some of the key motivic ideas and then you can try to find them being used in both the euphonium and piano parts throughout this section.

The opening 16th notes in the piano becomes what I call a noodling motif. It comes back in various forms in both instruments. The three 8th note idea that leads to longer note that occurs first in the euphonium melody in measure 1 to measure 2 is another important recurring idea. The two 16th notes followed by an 8th note which first occurs in the euphonium in measure 5 gets transformed in its melodic direction, but is an important unifying rhythmic idea. The syncopated 8th 1/4 8th rhythm that is used for sudden contrast in the piano in measure 3, dominates the middle section and is the main feature of the climax. The triplets, sextuplets, and 32nd notes all add rhythmic variety and are interspersed at key moments in this section and are also important in the cadenza. Another key element is the interval of an ascending minor 7th that is used throughout, but especially at the climaxes.

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

Dr. B

New Piece for Euphonium and Piano

2009-02-09T11:31:00.005-07:00

After spending the past three weeks preparing our home for sale so that we can move to Arizona, I am finally back composing. My next project is a composition for euphonium and piano for John DelVento, a very talented high school student from Connecticut. Since we are looking at a piece that lasts approximately eight minutes, I thought I would write a piece that begins with a slow section and ends with a fast section. This approach gave rise to the title "Contrasts", and the title suggested the opening of the piece. I began with a high piano arpeggiation that is vague in tonality. The euphonium enters one and half beats later with a low and sustained line therefore setting up the first contrast. Other contrasts occur in measure three with the articulation of the piano at the end of the measure and in measures 4 and 5 where the texture changes to euphonium alone. Measure 5 is also a contrast to the quarter note pulse by using an uneven 7/8. There are also contrasts in tonality as the piece does settle in any one place. These contrasts are subtle, but nonetheless important to the musical expression of the piece.

I always find getting started on a new piece challenging, especially after a lay off from composing. I have this fear that I won't be able to come up with anything and if I do, it will sound just like something I have already written. It still amazes me that I can come up with something new each time. I am looking forward to working on this piece and seeing where it takes me.

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

Dr. B