I am currently working on a composition for alto saxophone and guitar for two Texas State University faculty members, Todd Oxford and Mark Cruz. They want a crossover piece that might use electric guitar and I decide to write a Modern Jazz Suite with the movements being Bebop, Cool, Third Stream, and Jazz Rock.
The first movement starts with an ABAB head then has a sax solo accompanied by percussive use of the guitar. Then the guitar has a solo with slap tonguing used in the sax to imitate a bass line. Then the two instruments trade two measure solos with the guitar being a "Drum" again. Lastly the head comes back with some slight variations leading to the end. I really didn't follow a chord progression. The movement is more linearly conceived with the lines dictating where they want to go and the harmony a result of voice leading in colorful chords.
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/modern_jazz_suite_blog.html.
As always, your comments are appreciated.
Dr. B
Saturday, June 29, 2013
Thursday, June 6, 2013
Composers and Academia
The stories posted on the Olist about composition study at
music schools, especially Amy Scurria’s, inspired me to share my thoughts on
the subject.
I have been retired from the academic world for thirteen
years, yet I still attend College Music Society and Society of Composers
conferences and occasionally have my music selected for performance. My style
is very different from the majority of the compositions heard on these programs
as I am a tonalist and adhere to the principles espoused in John Winsor’s
excellent book, “Breaking the Sound Barrier: An Argument for Mainstream
Literary Music.” In this book, Mainstream Literary Music is defined as music
that builds upon the traditions of music established prior to 1950 and is music
that has dramatic shape similar to its literary counterparts.
Most of the music heard on these programs emphasizes timbre
and dissonance. It goes on for long periods of time with little or no dramatic
shape. The audiences for these programs are other academic composers, usually
only the ones that are also having their music performed. Also, the selection
of the music to be performed on these programs is done by academic composers as
well. I am often surprised that my music gets selected, as it does not fit into
what is considered “the norm.” This type of academic backscratching seems very
far removed from the non-academic concert environment where the audiences are
more varied.
I heard a presentation about jazz trombonists at the Eastern
Trombone Workshop almost 25 years ago that described jazz trombonists as falling
into one of three categories; innovators, preservers, and refiners. Innovators
are those that create something new. Preservers are those that recreate and an
older style. Refiners are those that combine the old and the new into an
artistic expression. These categories also translate well for describing
composers.
Innovators are definitely needed in order for our art to
move forward, but just because something is new doesn’t automatically mean it
is good. It takes refiners to take the new ideas and to use them in an artistic
manner that serves the art of music. I keep hoping that at these concerts I
would hear a change from the academic style of composing that has been
prevalent since the 1950s as the change has definitely permeated the
non-academic concert world. But I have yet to see it take hold in academia.
These styles that emphasize dissonance and timbre are no longer new and have
served their experimental purpose. It is time for the academic world to get
caught up with the rest of the concert scene.
It is difficult for a composition teacher to not impose his
or her style on their students, but allowing a student to find their own voice
is absolutely essential. One way to do this is to have students study the style
of composers different from themselves. After taking a poetry class where we
analyzed a poem and them wrote one using the things we gleaned from the
analysis, I decided to try the approach with my composition student. I have
blogged about the results on my composinginsights blog and here is a direct
link http://www.composinginsights.blogspot.com/2013/02/learning-from-other-composers.html
You can see and hear Josh’s composition and his analysis of
Stravinsky. We repeated this activity with Copland, Bartok and Ives and the
growth in Josh’s musical vocabulary was amazing.
No student should go through what Amy and others have
experienced. It is time for academic composers to break from the need to be
motivated by peer pressure and to be more motivated by what is good for the art
of music before the ivory tower of academia crumbles into ruins.
Tuesday, June 4, 2013
Elements Movement IV
I have finished the last movement of Elements and I am pleased with the results. This movement represents the Earth element whose main characteristic is stability. To represent stability musically, I used a lot of ostinatos during the movement. While this movement contains a lot of repetition, if one listens carefully, one becomes aware that the repetitions are constantly being varied.
The slow seven measure introduction presents some of the main motives used in this movement. It is ethereal, almost like the formation of the Earth itself. The most obvious ostinato is the one that appears in the baritone saxophone at measure 8. This two measure pattern repeats 7 times with some subtle variations before the tenor saxophone takes it over at measure 22. The soprano saxophone presents another ostinato at measure 10. Notice that its repeat does not line up with the 3/4 meter. It is answered by a third ostinato in the tenor sax and later in canon with alto sax 2.
At measure 13, a rising motive that is harmonized in 4ths and has its origins in the introduction, becomes the first melodic material that is not an ostinato. At measure 22, the movement becomes more lyrical with less use of the ostinato figures. Measures 34-44 provides relief from the ostinatos and is more lyrical with richer harmony and the use of imitation. The ostinato ideas then return and build to the Presto climax.
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/elements_blog.html.
As always, your comments are appreciated.
Dr. B
The slow seven measure introduction presents some of the main motives used in this movement. It is ethereal, almost like the formation of the Earth itself. The most obvious ostinato is the one that appears in the baritone saxophone at measure 8. This two measure pattern repeats 7 times with some subtle variations before the tenor saxophone takes it over at measure 22. The soprano saxophone presents another ostinato at measure 10. Notice that its repeat does not line up with the 3/4 meter. It is answered by a third ostinato in the tenor sax and later in canon with alto sax 2.
At measure 13, a rising motive that is harmonized in 4ths and has its origins in the introduction, becomes the first melodic material that is not an ostinato. At measure 22, the movement becomes more lyrical with less use of the ostinato figures. Measures 34-44 provides relief from the ostinatos and is more lyrical with richer harmony and the use of imitation. The ostinato ideas then return and build to the Presto climax.
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/elements_blog.html.
As always, your comments are appreciated.
Dr. B
Tuesday, May 28, 2013
Elements Movement III
I have completed the third movement of "Elements," a piece designed to musically portray the essential
nature of the Classical Greek elements, fire, water, air and earth and their astrological implications.
If there is one word that describes the chief characteristic of the air element it is changeable, therefore this movement is filled with contrast. Some of the contrasts I use are, texture, dynamics, articulation, meter, tonality, and orchestration.
The movement begins quietly with primarily a monophonic texture with some instrumentation changes as a way of adding variety. At measure 10, the texture changes to homophonic and there is a lot of contrast of dynamics and metrical feel with the use of the 6/8 3/4 hemiola.
Measure 11 introduces an interesting harmonic technique that I use frequently in this movement. I call it common tone harmony where one note remains constant as the chords change around it. In this measure, the Bb concert remains constant. Sometimes it is the root of the chord and other times the 3rd, 5th or 7th. The chords themselves could be major, minor, augmented or diminished, depending upon my choice of harmonic direction. I even use the common tone as a member of a chord built in 4ths. This gives the harmony a lot of flexibility and works well in a movement where changeability is a characteristic as the chords don't fall into any one key.
The basic melodic ideas go through a series of transformations as the piece progresses and contrasting elements are incorporated throughout. The biggest rhythmic change is from triple to duple meter at measure 52 where there is a contrast in articulation as well. Measure 87 brings the listener back to triple meter and the movement ends with hemiola contrast and dynamic contrast.
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/elements_blog.html.
As always, your comments are appreciated.
If there is one word that describes the chief characteristic of the air element it is changeable, therefore this movement is filled with contrast. Some of the contrasts I use are, texture, dynamics, articulation, meter, tonality, and orchestration.
The movement begins quietly with primarily a monophonic texture with some instrumentation changes as a way of adding variety. At measure 10, the texture changes to homophonic and there is a lot of contrast of dynamics and metrical feel with the use of the 6/8 3/4 hemiola.
Measure 11 introduces an interesting harmonic technique that I use frequently in this movement. I call it common tone harmony where one note remains constant as the chords change around it. In this measure, the Bb concert remains constant. Sometimes it is the root of the chord and other times the 3rd, 5th or 7th. The chords themselves could be major, minor, augmented or diminished, depending upon my choice of harmonic direction. I even use the common tone as a member of a chord built in 4ths. This gives the harmony a lot of flexibility and works well in a movement where changeability is a characteristic as the chords don't fall into any one key.
The basic melodic ideas go through a series of transformations as the piece progresses and contrasting elements are incorporated throughout. The biggest rhythmic change is from triple to duple meter at measure 52 where there is a contrast in articulation as well. Measure 87 brings the listener back to triple meter and the movement ends with hemiola contrast and dynamic contrast.
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/elements_blog.html.
As always, your comments are appreciated.
Thursday, May 23, 2013
Elements Movement II
I have completed the second movement of "Elements," a piece designed to musically portray the essential
nature of the Classical Greek elements, fire, water, air and earth and their astrological implications.
The water element's chief characteristic is sensitivity, therefore I chose a slow tempo and wrote a movement that is lyrical and harmonically rich. This movement is in an ABA' form. The B section uses some tone painting where the undulating 16th notes are designed to represent the flow of water.
From a compositional viewpoint, I feel that the things that make this movement work well are the subtleties. Phrases are interchanged between instruments so in order to create continuity, I often overlap the phrases. When the A section returns, try to note the differences from the first A section. Since this section comes at the end, it needed some slight variation from its opening statement. The meter changes throughout add an element of subtle irregularity so that the lines are not predictable. The ending has a delayed cadence that once again adds a subtlety that hopefully delights the ear.
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/elements_blog.html.
As always, your comments are appreciated.
Dr. B
The water element's chief characteristic is sensitivity, therefore I chose a slow tempo and wrote a movement that is lyrical and harmonically rich. This movement is in an ABA' form. The B section uses some tone painting where the undulating 16th notes are designed to represent the flow of water.
From a compositional viewpoint, I feel that the things that make this movement work well are the subtleties. Phrases are interchanged between instruments so in order to create continuity, I often overlap the phrases. When the A section returns, try to note the differences from the first A section. Since this section comes at the end, it needed some slight variation from its opening statement. The meter changes throughout add an element of subtle irregularity so that the lines are not predictable. The ending has a delayed cadence that once again adds a subtlety that hopefully delights the ear.
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/elements_blog.html.
As always, your comments are appreciated.
Dr. B
Saturday, May 18, 2013
Elements for Saxophone Quartet Movement I
I am back writing about my compositions after a hiatus of almost a year. I have been commissioned by the h2 Saxophone Quartet and we decided to have me write a quartet that would be playable by good high school, college, and weekend warrior quartets. The piece I am creating is called "Elements" and is designed to musically portray the essential nature of the Classical Greek elements,
fire, water, air and earth and their astrological implications.
The first movement is Fire whose essential nature is strong and controlling. The music contains a lot of forceful sections, primarily in a homophonic style. In order to contrast these sections, quieter polyphonic sections are used that build into the more forceful sections. The technique of counterpoint in music is one that demands great control, thus fitting subject matter.
The harmonic style is a mixture of quartal harmony and triadic harmony. The music wanders freely between keys therefore creating harmonic interest. There is much rhythmic interest through the use of syncopation and hemiola.
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/elements_blog.html.
As always, your comments are appreciated.
Dr. B
fire, water, air and earth and their astrological implications.
The first movement is Fire whose essential nature is strong and controlling. The music contains a lot of forceful sections, primarily in a homophonic style. In order to contrast these sections, quieter polyphonic sections are used that build into the more forceful sections. The technique of counterpoint in music is one that demands great control, thus fitting subject matter.
The harmonic style is a mixture of quartal harmony and triadic harmony. The music wanders freely between keys therefore creating harmonic interest. There is much rhythmic interest through the use of syncopation and hemiola.
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/elements_blog.html.
As always, your comments are appreciated.
Dr. B
Saturday, March 16, 2013
Composition Competitions
I thought that I would say a few words about composition competitions as I have entered several over the past few months and have met with some success and have been disappointed with others. I hope that my viewpoints will be useful to other composers.
The two major resources I use to find out about competitions are the American Composers Forum http://composersforum.org/ and the Society of Composers http://www.societyofcomposers.org/. Both are membership organizations and the benefits are well worth the membership fee.
The next step is to be selective regarding which competitions you enter. Entering competitions can get expensive, as some have entrance fees and many require mailing multiple copies of scores. More and more competitions are going to online submission which saves duplicating and postage costs and I applaud this direction. It is bad enough that one sometimes needs to pay an entrance fee and many composers refuse to enter these contests because they say "why should I be supporting the prize money?" People running the competitions justify the fee by saying "it pays the costs of the judges and the administration of the contest." It is a personal choice as to whether you decide to enter competitions with fees. If I feel that my composition and the competition are a match, I will usually enter the competition even if it has a fee.
To determine if your composition and the competition are a match, see if you can find a list previous winners of the competition and try to locate their music. Google searching makes this fairly easy to do and it will give you a good idea of what the sponsors are looking for.
If you enter a competition, do not expect to receive feedback. I wish that feedback would be provided, especially if it is an annual competition that you have entered several times and not been successful. I recently experienced a non-placement in a competition that I felt sure that I would place. I did all the research and felt that my entry was very strong. However, it was not successful and the only thing I can determine is that judges found things more to their liking. One needs to realize that there are many fine composers entering the competitions and the judges will have their own personal preferences.
But if one is to further one's compositional career, one needs too realize that entering competitions are part of the process. It is easy to get discourage when one does not meet with success, but as the advertisement for the lottery says, "You can't win if you don't play." Just be selective, do your research, enter quality material, and do not take it too personally if you don't meet with success. If you keep doing it long enough, you will have success. Out of the dozen or so competitions I have recently entered, I have had success with two.
I hope that my experiences with competitions will help other composers navigate the maze of competitions. I wish all of you much success.
Dr. B
The two major resources I use to find out about competitions are the American Composers Forum http://composersforum.org/ and the Society of Composers http://www.societyofcomposers.org/. Both are membership organizations and the benefits are well worth the membership fee.
The next step is to be selective regarding which competitions you enter. Entering competitions can get expensive, as some have entrance fees and many require mailing multiple copies of scores. More and more competitions are going to online submission which saves duplicating and postage costs and I applaud this direction. It is bad enough that one sometimes needs to pay an entrance fee and many composers refuse to enter these contests because they say "why should I be supporting the prize money?" People running the competitions justify the fee by saying "it pays the costs of the judges and the administration of the contest." It is a personal choice as to whether you decide to enter competitions with fees. If I feel that my composition and the competition are a match, I will usually enter the competition even if it has a fee.
To determine if your composition and the competition are a match, see if you can find a list previous winners of the competition and try to locate their music. Google searching makes this fairly easy to do and it will give you a good idea of what the sponsors are looking for.
If you enter a competition, do not expect to receive feedback. I wish that feedback would be provided, especially if it is an annual competition that you have entered several times and not been successful. I recently experienced a non-placement in a competition that I felt sure that I would place. I did all the research and felt that my entry was very strong. However, it was not successful and the only thing I can determine is that judges found things more to their liking. One needs to realize that there are many fine composers entering the competitions and the judges will have their own personal preferences.
But if one is to further one's compositional career, one needs too realize that entering competitions are part of the process. It is easy to get discourage when one does not meet with success, but as the advertisement for the lottery says, "You can't win if you don't play." Just be selective, do your research, enter quality material, and do not take it too personally if you don't meet with success. If you keep doing it long enough, you will have success. Out of the dozen or so competitions I have recently entered, I have had success with two.
I hope that my experiences with competitions will help other composers navigate the maze of competitions. I wish all of you much success.
Dr. B
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