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
Monday, August 31, 2009
Wednesday, August 19, 2009
Concertino Continued
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
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
Wednesday, July 29, 2009
Concertino for Alto Sax and Wind Ensemble
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 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
Friday, July 24, 2009
I'm Back Composing Again
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
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
Monday, March 30, 2009
Moving to Arizona
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
Dr. B
Monday, March 16, 2009
Contrasts Revised
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
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
Sunday, March 15, 2009
Contrasts for Euphonium and Piano Part 2 Completed
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
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
Subscribe to:
Posts (Atom)