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
Tuesday, September 28, 2010
Thursday, August 19, 2010
Fantasie Variations on the Polish National Anthem - End
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
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
Tuesday, August 17, 2010
Fantasie Variations on the Polish National Anthem - Middle
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
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
Thursday, August 12, 2010
Fantasie Variations on the Polish National Anthem
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
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
Tuesday, July 27, 2010
Adages for Violin and Tuba Movement 6
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
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
Sunday, July 25, 2010
Adages for Violin and Tuba Movement 5
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
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
Friday, July 23, 2010
Adages for Violin and Tuba Movement 4
"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
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
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