I'd like to let my readers know about an opportunity that might be of interest. I would like to arrange my orchestra and narrator composition Melting Pot Overture for middle school band. This overture was written for the York Junior Symphony and premiered at the Eastern Regional MENC Conference. It is divided into three sections, each based upon different poetry with a common theme, “the unity of people on earth”. The work uses folk songs from different ethnic origins in combination with each other to create a composition reflective of the title. A slow introduction leads into a spirited allegro after the narrator speaks the ending of Emma Lazarus’ poem “The New Colossus”, which appears on the pedestal of the statue of Liberty. This is followed by a slow section where the composer’s poem, “I’m From America”, is spoken over the music. The final section is also a spirited allegro where the composer’s poem, “We Are One”, is spoken among a set of variations on a Quapaw Indian Song.
If this idea interests you, I have established a Performance Commissioning Consortium where interested groups commit to paying a $35 participation fee upon receipt of a pdf copy of the music. The participating groups have the right to a local premiere for one year following the receipt of the composition and inclusion of the group name in the dedication. In addition, this participation fee will be refunded upon receipt of a program and recording of the performance.
For more information about this project, please visit http://www.cooppress.net/page9/index.html Deadline for inclusion is May 1, 2014.
Thanks for considering this project.
Sy Brandon, Arizona Centennial Composer and American Prize Semi-finalist
Sunday, March 30, 2014
Sunday, March 23, 2014
Neverland for Woodwind Quintet Movement 4
The 4th movement is "The Mermaid Lagoon and the Rescue of Tiger Lily". As the title suggests, there are two parts to this movement.
The first section depicts the beauty and mystique of the Mermaid Lagoon. On can think of the clarinet and flute noodling as ripples on the lagoon. The more sustained melody that appears in the Horn and then the oboe and then the Horn and oboe together might be thought of as representing mermaids gracefully swimming.
All this gentleness is interrupted by the arrival of Smee and his crew with Tiger Lily in captivity. The pentatonic melody in the clarinet and the ostinato in the bassoon represent Tiger Lily. The bassoon part that begins at m. 24 is the theme I use for the pirates and Hook. At m. 29, the oboe and clarinet play a theme that I develop later in the composition in the Children's March movement. The music speeds up and becomes more contrapuntal as the children rescue Tiger Lily from the pirates grasp.
I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Neverland_WW5_blog.html.
As always, your comments are appreciated.
Dr. B
The first section depicts the beauty and mystique of the Mermaid Lagoon. On can think of the clarinet and flute noodling as ripples on the lagoon. The more sustained melody that appears in the Horn and then the oboe and then the Horn and oboe together might be thought of as representing mermaids gracefully swimming.
All this gentleness is interrupted by the arrival of Smee and his crew with Tiger Lily in captivity. The pentatonic melody in the clarinet and the ostinato in the bassoon represent Tiger Lily. The bassoon part that begins at m. 24 is the theme I use for the pirates and Hook. At m. 29, the oboe and clarinet play a theme that I develop later in the composition in the Children's March movement. The music speeds up and becomes more contrapuntal as the children rescue Tiger Lily from the pirates grasp.
I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Neverland_WW5_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, March 14, 2014
Neverland for Woodwind Quintet Movements 2 and 3
These two short movements adapted very well for the woodwind quintet. Movement 2 is Tinkerbell and is a light 6/8 dance with lots of trills to represented her fluttering of wings. The form is ABAB with a short coda. The 9/8 at measure 24 provides a break in the regular rhythm and in the phrasing.
Movement 3 is Flying to Neverland. It is also in 6/8 but at a much faster tempo than movement 2. The melodic material is very chromatic as well as outlining an augmented triad. The harmony uses all four triadic structures however the augmented triad dominates. I like the augmented triad for this movement because it is restless. But unlike a diminished triad, this triad wants to expand outward rather than inward, making it perfect for flying to a different world. There is a lot of counterpoint to represented Peter as the leader teaching the Darling children to fly. Contrary motion is frequently used that adds to the chaos of children learning to fly.
I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Neverland_WW5_blog.html.
As always, your comments are appreciated.
Dr. B
Movement 3 is Flying to Neverland. It is also in 6/8 but at a much faster tempo than movement 2. The melodic material is very chromatic as well as outlining an augmented triad. The harmony uses all four triadic structures however the augmented triad dominates. I like the augmented triad for this movement because it is restless. But unlike a diminished triad, this triad wants to expand outward rather than inward, making it perfect for flying to a different world. There is a lot of counterpoint to represented Peter as the leader teaching the Darling children to fly. Contrary motion is frequently used that adds to the chaos of children learning to fly.
I export my Sibelius Music Notation file as a movie (new to version 7.5). I also use Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Neverland_WW5_blog.html.
As always, your comments are appreciated.
Dr. B
Wednesday, March 12, 2014
Neverland for Woodwind Quintet Movement 1
I began work on re-scoring my duet version of "Neverland: the Story of Peter Pan in Poetry and Music" for Woodwind Quintet and narrator earlier than planned because I will be on the road for two weeks during April and the seven quintets that expressed interest thus far in this project was enough to get me started. The quintets that are part of the consortium are:
It is a luxury for a composer to be writing for five diverse instruments instead of just two. I can easily expand the harmony, add more counterpoint, and have more timbral choices than when writing for two instruments. All these are incorporated into the first movement. I was also able to link the sections together better because I had more instruments to work out breathing and rests. Another change between the duet version and quintet version is the introduction of some triplet figures that add variety to the rhythm.
Beginning with this blog post, I am able to export my Sibelius Music Notation file as a movie (new to version 7.5). I also started using Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Neverland_WW5_blog.html.
As always, your comments are appreciated.
Dr. B
- Sound Gallery
- Scirocco Winds
- San Luis Obispo Woodwind Quintet
- Quintaero Woodwind Quintet
- Emerald Wind Quintet
- Black Marigold Wind Quintet
- Air City Woodwind Quintet
It is a luxury for a composer to be writing for five diverse instruments instead of just two. I can easily expand the harmony, add more counterpoint, and have more timbral choices than when writing for two instruments. All these are incorporated into the first movement. I was also able to link the sections together better because I had more instruments to work out breathing and rests. Another change between the duet version and quintet version is the introduction of some triplet figures that add variety to the rhythm.
Beginning with this blog post, I am able to export my Sibelius Music Notation file as a movie (new to version 7.5). I also started using Noteperformer software for the sounds. These are sample sounds, but the software also includes an algorithm that reads ahead in the music and phrases the music according to context, therefore making the realization closer to live performance. I upload these videos to youtube and embed the video after the poetry for each movement. I hope that this technology allows the reader to have an easier experience and a more realistic performance. To see and hear what I have discussed, go to http://www.cooppress.net/Neverland_WW5_blog.html.
As always, your comments are appreciated.
Dr. B
Wednesday, March 5, 2014
Pinocchio Portraits for Brass Quintet
I am pleased that thirteen brass quintets have agreed to take part in the Pinocchio Portraits for Brass Quintet Commissioning Consortium. They are:
If any other brass quintets want to join the consortium for $25 where the group would become part of the dedication, receive a pdf file of score and parts, and have local premiere rights until March 2015, please contact me at cooppress@cooppress.net. There is a narrator part that introduces each movement.
I use 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 and you can use the zoom in feature to see more detail on larger scores. To see and hear what I have discussed, go to http://www.cooppress.net/Pinocchio_Brass_blog.html.
As always, your comments are appreciated.
Dr. B
Beacon Hill Brass - Victoria, BC Canada
Burnished Brass Quintet -Easton/Cambridge, MD
Columbus Brass (Columbus (GA) State University Faculty Brass Quintet)
El Paso Brass - El Paso, TX
I-49 Brass Quintet - Shreveport, LA
Loudoun Brass Quintet - Sterling, VA
Pyramid Brass - Western North Carolina
Saint Louis Brass - Saint Louis, MO
Synergy Brass Quintet - West Roxbury, MA
Spark Brass - Lancaster, PA
Trenton Brass Quintet Plus One - Trenton, NJ
Trillium Brass Quintet - Toronto, CA
Western Brass Quintet - Faculty Ensemble at Western Michigan University
If any other brass quintets want to join the consortium for $25 where the group would become part of the dedication, receive a pdf file of score and parts, and have local premiere rights until March 2015, please contact me at cooppress@cooppress.net. There is a narrator part that introduces each movement.
I use 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 and you can use the zoom in feature to see more detail on larger scores. To see and hear what I have discussed, go to http://www.cooppress.net/Pinocchio_Brass_blog.html.
As always, your comments are appreciated.
Dr. B
Tuesday, February 4, 2014
Two New Commissioning Consortiums
I am in the process of organizing two Performance Commissioning Consortiums. As my last post indicated, I believe that consortiums are a great way to create a win-win opportunity for both performers and composers. These are the two projects that I have going:
I would like to arrange my duet and narrator composition “Pinocchio
Portraits” for brass quintet and narrator. It consists of ten short
movements that depict characters and scenes from the Pinocchio story including
Geppetto, Pinocchio, Harlequin, The Fox and the Cat, The Fairy Godmother,
Candlewick, Toyland, and the Whale. The narrator part introduces the scenes and
describes how the music is used to portray the story.
The way I’d like to pursue this is through a Performance
Commissioning Consortium where interested groups verbally commit to a $25
participation fee that includes receipt a pdf copy of the music, the right to a
local premiere for one year following the receipt of the composition, and
inclusion of the group name in the dedication. In addition, this participation
fee will be refunded upon receipt of a program showing performance at an ASCAP
licensed venue.
For more information about this project, please visit http://www.cooppress.net/page9/index.html
Deadline for inclusion is March 1, 2014.
So far, five groups have joined the consortium. They are:
St. Louis Brass
Columbus Brass (Columbus (GA) State University Faculty Brass Quintet)
Synergy Brass Quintet
Spark Brass
Burnished Brass Quintet
The second project is
my arranging my duet and narrator composition “Neverland”
for woodwind quintet and narrator. There are eight short movements that
describe the story of Peter Pan using poetry and music. The same fee structure applies to this project as well.
For more information about this project, please visit http://www.cooppress.net/page9/index.html
Deadline for inclusion is April 1, 2014.
I feel that there is a need for good educational compositions for these ensembles and I hope that these projects add to the repertoire.
Dr. B
Thursday, January 2, 2014
Perpetuating New Music
One of my lifelong commitments as a performer, educator, and composer is to find ways to bring composers, performers and audiences together to create excitement about new music. The reason for doing this is illustrate that music is dynamic art form that is ever evolving, rather than a purely historic one.
There are many reasons why performers are reluctant to commission composers. Among them are an abundance of standard repertoire, fear of alienating audiences, uncertainty of the resulting composition will be like, and cost. The first reason should not be a deterrent, as all performers should feel a responsibility of adding to the repertoire for their performance area. Carefully researching the composer of choice and finding one that would suit performer and audience tastes can overcome the next two reasons. Using the idea of a Performance Commissioning Consortium that is described below, can solve the problem of cost.
Performance Commissioning Consortium
A Performance Commissioning Consortium is a win-win way for a group of people to have a composer compose a new composition for little or no cost. It works like this:
Idea for the composition
• The consortium gets started by one person wanting a composer to compose a piece for a specified instrumentation and level. This person, who is called the initiator, then promotes the idea among his/her colleagues and tries to get others to join the consortium.
• While the initiator may have a specific instrumentation in mind, the composer may be able to create alternative parts (ex. flute and bassoon duet that could be played by oboe and euphonium) to enable a wider participation in the consortium. The initiator should check with the composer regarding the possibilities.
• It may be possible for the composer to simplify parts of the composition in order to give more flexibility regarding the level. The initiator should check with the composer regarding the possibilities.
Number of participants and cost
• The composer and initiator should set a participation fee and a minimum number of participants (ex. 10 participants at $50 each). Each participant should make a commitment to perform the composition at least once during the year following the receipt of score and parts. Sending the score and parts as PDF files will enable the commission cost to be lower than printing and mailing hard copies. The participation fee would be due within 30 days of receipt of the music.
• Each participant will be listed on the composition as part of the consortium and will have local premiere rights. After one year, the composition can be made available for purchase by the general public. The copyright will remain with the composer.
• The composer should be willing to refund a portion of the participation fee up to the entire fee to each participant for each program submitted showing a performance by the participant of the composition at a performance society (ASCAP, BMI) licensed venue (usually college campuses, performance halls, Association of Concert Bands members, etc.). The composer could then benefit financially through performance royalties to compensate for the refunding of all or part of the commission fee.
Deadlines
• The composer and initiator should establish clear deadlines for commitment to and completion of the composition.
Promotion of the Commissioning Consortium
• The initiator can use news groups, forums, social media (Facebook, Twitter, Google+, Linkedin), and word of mouth to recruit participants. In exchange for this, the initiator should be allowed to participate for free.
• The composer and initiator may choose to use kickstarter as a means of obtaining participants.
Other Opportunities
• The participants may wish to invite the composer to the premieres and have the composer share ideas about the creative process with the audience, schools, and the community. A New Music USA Project Grant may be a way of funding the composer residency.
I have initiated this type of commission at my website http://cooppress.net along with my other programs such as a Commission Assistance Grant, a Recording Grant, a Fundraising Program, and a Performing Partner Program. All it takes to bring performers, composers and audiences together is a desire and a willingness to work together. It is hoped that the ideas that I have initiated will become more widespread and that all performers will endeavor to work with composers to perpetuate new music.
There are many reasons why performers are reluctant to commission composers. Among them are an abundance of standard repertoire, fear of alienating audiences, uncertainty of the resulting composition will be like, and cost. The first reason should not be a deterrent, as all performers should feel a responsibility of adding to the repertoire for their performance area. Carefully researching the composer of choice and finding one that would suit performer and audience tastes can overcome the next two reasons. Using the idea of a Performance Commissioning Consortium that is described below, can solve the problem of cost.
Performance Commissioning Consortium
A Performance Commissioning Consortium is a win-win way for a group of people to have a composer compose a new composition for little or no cost. It works like this:
Idea for the composition
• The consortium gets started by one person wanting a composer to compose a piece for a specified instrumentation and level. This person, who is called the initiator, then promotes the idea among his/her colleagues and tries to get others to join the consortium.
• While the initiator may have a specific instrumentation in mind, the composer may be able to create alternative parts (ex. flute and bassoon duet that could be played by oboe and euphonium) to enable a wider participation in the consortium. The initiator should check with the composer regarding the possibilities.
• It may be possible for the composer to simplify parts of the composition in order to give more flexibility regarding the level. The initiator should check with the composer regarding the possibilities.
Number of participants and cost
• The composer and initiator should set a participation fee and a minimum number of participants (ex. 10 participants at $50 each). Each participant should make a commitment to perform the composition at least once during the year following the receipt of score and parts. Sending the score and parts as PDF files will enable the commission cost to be lower than printing and mailing hard copies. The participation fee would be due within 30 days of receipt of the music.
• Each participant will be listed on the composition as part of the consortium and will have local premiere rights. After one year, the composition can be made available for purchase by the general public. The copyright will remain with the composer.
• The composer should be willing to refund a portion of the participation fee up to the entire fee to each participant for each program submitted showing a performance by the participant of the composition at a performance society (ASCAP, BMI) licensed venue (usually college campuses, performance halls, Association of Concert Bands members, etc.). The composer could then benefit financially through performance royalties to compensate for the refunding of all or part of the commission fee.
Deadlines
• The composer and initiator should establish clear deadlines for commitment to and completion of the composition.
Promotion of the Commissioning Consortium
• The initiator can use news groups, forums, social media (Facebook, Twitter, Google+, Linkedin), and word of mouth to recruit participants. In exchange for this, the initiator should be allowed to participate for free.
• The composer and initiator may choose to use kickstarter as a means of obtaining participants.
Other Opportunities
• The participants may wish to invite the composer to the premieres and have the composer share ideas about the creative process with the audience, schools, and the community. A New Music USA Project Grant may be a way of funding the composer residency.
I have initiated this type of commission at my website http://cooppress.net along with my other programs such as a Commission Assistance Grant, a Recording Grant, a Fundraising Program, and a Performing Partner Program. All it takes to bring performers, composers and audiences together is a desire and a willingness to work together. It is hoped that the ideas that I have initiated will become more widespread and that all performers will endeavor to work with composers to perpetuate new music.
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