I have completed the 4th movement of this new
composition for an
ensemble of 3-5 instrumentalists. I am composing the piece for four
unspecified instruments, one each in the soprano, alto, tenor, and bass
ranges. This gives me flexibility in reducing the score for an ensemble
of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also
combine lines and add harmony to accommodate a pianist within the
group. I will customize the music for each of the participating
ensembles in the commissioning consortium by varying the ranges,
changing keys, changing articulation, and adjusting the balance as
needed. For more information about
joining the consortium, please go to http://www.cooppress.net/page9/index.html
The fourth movement is called the Mad Hatter and it musically tells the story of the Mad Tea Party. The movement just alternates two main ideas. The A sections are rhythmic, disjunct, and dissonant. The intervals of major 2nd, tritone, perfect 4th, and minor seventh are frequent used. The melodic lines are atonal. All this reflects the senseless riddles that the Hatter and the Hare pose to Alice. In addition, each time the A section returns, it is in a different key(?) reflecting the shifting of seats during the tea party.
The B section is a short section where the descending, more sustained line represents the Dormouse falling asleep and the short outbursts from the other instruments represent the Hare and the Hatter waking him up.
Even there is a lot of repetition of material, each repetition has its own subtle variation. See if you can pick them up.
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. The sounds used in
the movie are violin, clarinet, trombone, and tuba. To see
and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, June 6, 2014
Thursday, June 5, 2014
Wonderland Movement 3
I have completed the 3rd movement of this new composition for an
ensemble of 3-5 instrumentalists. I am composing the piece for four
unspecified instruments, one each in the soprano, alto, tenor, and bass
ranges. This gives me flexibility in reducing the score for an ensemble
of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also
combine lines and add harmony to accommodate a pianist within the
group. I will customize the music for each of the participating
ensembles in the commissioning consortium by varying the ranges, changing keys, changing articulation, and adjusting the balance as needed. For more information about
joining the consortium, please go to http://www.cooppress.net/page9/index.html
The third movement represents the Cheshire Cat who assists Alice in finding her way through Wonderland by challenging her with philosophical questions that she cannot answer and then disappearing only to appear again in another location along her travels. Sometimes when he disappears, nothing is left but his grin. The grin was the starting point for this movement as I came up with the idea for a grin motif that would be a sextuplet figure that descends stepwise and then returns to the starting pitch. This musical melodic shape is a grin when notated and should be recognizable aurally as well. It first occurs at measure 9 in the movement and is the germ idea for this section.
The movement itself is in an ABA form with a short coda. It is in a slow tempo and contrapuntal, therefore suggesting contemplation. The A section has four independent lines that simultaneously work together and independently. There are sections of brief imitation. It builds in texture then thins indicating the cat fading in and out. The B section continues the contrapuntal structure but introduces the grin motif where three of the four lines begin with it. This section ends with the grin motif in imitation before fading away. The A section returns with some slight variation before easing into the coda consisting of the grin motif in imitation. Two beats of silence precede the final notes in the lowest instrument. Harmonically, the movement hovers between d minor and F major before ending on G.
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. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
The third movement represents the Cheshire Cat who assists Alice in finding her way through Wonderland by challenging her with philosophical questions that she cannot answer and then disappearing only to appear again in another location along her travels. Sometimes when he disappears, nothing is left but his grin. The grin was the starting point for this movement as I came up with the idea for a grin motif that would be a sextuplet figure that descends stepwise and then returns to the starting pitch. This musical melodic shape is a grin when notated and should be recognizable aurally as well. It first occurs at measure 9 in the movement and is the germ idea for this section.
The movement itself is in an ABA form with a short coda. It is in a slow tempo and contrapuntal, therefore suggesting contemplation. The A section has four independent lines that simultaneously work together and independently. There are sections of brief imitation. It builds in texture then thins indicating the cat fading in and out. The B section continues the contrapuntal structure but introduces the grin motif where three of the four lines begin with it. This section ends with the grin motif in imitation before fading away. The A section returns with some slight variation before easing into the coda consisting of the grin motif in imitation. Two beats of silence precede the final notes in the lowest instrument. Harmonically, the movement hovers between d minor and F major before ending on G.
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. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
Monday, June 2, 2014
Wonderland Movement 2
I have completed the 2nd movement of this new composition for an
ensemble of 3-5 instrumentalists. I am composing the piece for four
unspecified instruments, one each in the soprano, alto, tenor, and bass
ranges. This gives me flexibility in reducing the score for an ensemble
of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also
combine lines and add harmony to accommodate a pianist within the
group. I will customize the music for each of the participating
ensembles in the commissioning consortium. For more information about
joining the consortium, please go to http://www.cooppress.net/page9/index.html
The second movement depicts the white rabbit, who is always rushing about and stopping to look at his watch stating "I'm late." The music was designed to create a sense of rushing and stopping as well.
The form of this movement is AABBAABB coda. The scherzo-like A theme uses an eighth two sixteenths rhythmic motive in the 4/4 measure followed by a four sixteenth note motive in the 2/4 measure. The 4/4 measure is the rushing and the 2/4 measure is the stopping. A syncopated idea follows in measures 5-8 as the rabbit is back to his rushing mode. The first 8 measures repeat with a varied orchestration. The B section introduces a new melody that is more sustained, but the rhythmic accompaniment and the insertion of the 2/4 measures still create a sense of rushing and stopping. This section repeats with varied orchestration and the addition of a countermelody. The entire AABB now repeats with slight variation as well as a gradual increase in tempo that leads to the short coda. The harmony is mostly quartal in design that gives the movement a starkness indicative of the single-minded purpose of the white rabbit.
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. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
The second movement depicts the white rabbit, who is always rushing about and stopping to look at his watch stating "I'm late." The music was designed to create a sense of rushing and stopping as well.
The form of this movement is AABBAABB coda. The scherzo-like A theme uses an eighth two sixteenths rhythmic motive in the 4/4 measure followed by a four sixteenth note motive in the 2/4 measure. The 4/4 measure is the rushing and the 2/4 measure is the stopping. A syncopated idea follows in measures 5-8 as the rabbit is back to his rushing mode. The first 8 measures repeat with a varied orchestration. The B section introduces a new melody that is more sustained, but the rhythmic accompaniment and the insertion of the 2/4 measures still create a sense of rushing and stopping. This section repeats with varied orchestration and the addition of a countermelody. The entire AABB now repeats with slight variation as well as a gradual increase in tempo that leads to the short coda. The harmony is mostly quartal in design that gives the movement a starkness indicative of the single-minded purpose of the white rabbit.
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. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
Thursday, May 29, 2014
Wonderland Movement 1
I have completed the 1st movement of this new composition for an ensemble of 3-5 instrumentalists. I am composing the piece for four unspecified instruments, one each in the soprano, alto, tenor, and bass ranges. This gives me flexibility in reducing the score for an ensemble of 3 instrumentalists or enlarging it for 5 instrumentalists. I can also combine lines and add harmony to accommodate a pianist within the group. I will customize the music for each of the participating ensembles in the commissioning consortium. For more information about joining the consortium, please read my previous post.
The first movement, Alice, is in two parts. The first part depicts Alice falling down the rabbit hole with a fast, triple meter, and lots of descending lines. There are some longer notes used underneath the fast notes that create the illusion of her falling slowly. The beginning ideas are highly chromatic. At measure 24, the melodic material becomes more arpeggiated. At measure 34, a pyramid effect that repeats 4 times is used to create tension. The opening two sections return before petering out as Alice makes a safe landing.
Part two represents Alice constantly changing size. When she grows, the music becomes louder and thicker in texture. When she shrinks, it becomes softer and thinner in texture. Ascending lines are also used to represent growing and descending lines are used to represent shrinking.
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. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
The first movement, Alice, is in two parts. The first part depicts Alice falling down the rabbit hole with a fast, triple meter, and lots of descending lines. There are some longer notes used underneath the fast notes that create the illusion of her falling slowly. The beginning ideas are highly chromatic. At measure 24, the melodic material becomes more arpeggiated. At measure 34, a pyramid effect that repeats 4 times is used to create tension. The opening two sections return before petering out as Alice makes a safe landing.
Part two represents Alice constantly changing size. When she grows, the music becomes louder and thicker in texture. When she shrinks, it becomes softer and thinner in texture. Ascending lines are also used to represent growing and descending lines are used to represent shrinking.
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. The sounds used in the movie are violin, clarinet, trombone, and tuba. To see and hear what I have discussed, go to http://www.cooppress.net/Wonderland_blog.html.
As always, your comments are appreciated.
Dr. B
Saturday, May 24, 2014
Wonderland for Chamber Ensemble
I am now beginning a 15 minute good high school/early college level composition based on characters from Alice in Wonderland for a chamber ensemble of 3-5 players. It is called "Wonderland" and contains descriptive movements such as Alice, the Mad Hatter, the White Rabbit, the Queen, the Cheshire Cat, and the Mock Turtle. The composition would be created so that it can be customized to fit either unusual instrumentation or standard instrumentation. Rebecca Hovans' review in the Winter 2014 Flute Quarterly of my compositions on the Ardente Duo CD states, "Many of the pieces are adaptions for flute and clarinet of works previously composed for other instruments. However, had I not known this from reading the program notes, I would have never guessed. The pieces fit the flute/clarinet pairing perfectly."
This piece is being created as a result of the Wonderland Commissioning Consortium consisting of groups who promise to pay a $25 commissioning fee upon completion of the work with the possibility of having the fee refunded upon submitting a program from a performance and a recording. For more information about the consortium, visit http://www.cooppress.net/page9/page385/index.html
The way that I plan to go about this is to create the score in four unspecified SATB parts. This would give me the flexibility to expand to five instruments or reduce to three instruments as needed. If the group uses piano, that can be accommodated as well. I plan to create specific versions for each of the participants as articulations and balance will need to be customized. The participants in the consortium will always have the ability to request a version to fit their changing instrumentation needs without any further charge.
Below is an outline of each movement:
This piece is being created as a result of the Wonderland Commissioning Consortium consisting of groups who promise to pay a $25 commissioning fee upon completion of the work with the possibility of having the fee refunded upon submitting a program from a performance and a recording. For more information about the consortium, visit http://www.cooppress.net/page9/page385/index.html
The way that I plan to go about this is to create the score in four unspecified SATB parts. This would give me the flexibility to expand to five instruments or reduce to three instruments as needed. If the group uses piano, that can be accommodated as well. I plan to create specific versions for each of the participants as articulations and balance will need to be customized. The participants in the consortium will always have the ability to request a version to fit their changing instrumentation needs without any further charge.
Below is an outline of each movement:
Alice – This movement will be in two main sections. The
first will depict Alice falling down the rabbit hole by lots of descending
lines and a fast tempo. I would also like to try to incorporate some
augmentation over the descending lines to give the illusion that while she is
falling rapidly, it appears to her that she is falling slowly. The second part
would musically represent Alice as she constantly changes size. I would
accomplish this through changing the texture of the orchestration and rapid
changes in dynamics.
The White Rabbit – This movement would have a scherzo
quality as the rabbit is always trying to outrace time.
The Cheshire Cat – The Cheshire cat is always disappearing,
therefore the musical ideas in this movement will gradually disappear as well.
The Mad Hatter – Sentenced to perpetual tea for killing time,
the hatter’s tea party is one of chaos and confusion. The music will be chaotic
and confused by rapidly changing ideas and free use of dissonance.
The Mock Turtle – The Mock Turtle’s story is sad and he is
always shedding tears. This movement would be lugubrious in its minor mode and
mournful melodies.
The Queen of Hearts – The Queen is always unhappy and goes
around threatening to cut off everyone’s head. The music for this movement
would depict her unhappiness and anger.
Epilog: Alice’s Awakening – Alice awakens in her sister’s
lap and relates her dream. The music would use ascending lines punctuated by
remembrances of each of the characters.
I am looking forward to working on this composition and sharing my progress here.
Dr. B
Monday, May 12, 2014
Melting Pot Overture for Band
Melting Pot Overture is for Middle School or New Horizons Bands and Narrator and it was made possible by the Melting Pot Overture
Commissioning Consortium that consists of eleven groups.
This overture 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.
To see and hear this composition, go to http://www.cooppress.net/Melting_Pot_Band/Melting_Pot_Band.html.
This overture 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.
The following is a list of the songs used in this work and
their location.
Sunrise Call (Zuni Indians) – woodwind solos m. 1-28, canon
m. 9-17
Bluebird (Korea) – low instrument answer to woodwind solos
m. 1-28
Rocka My Soul (Negro Spiritual) – m. 28-43
Pretty Pena (Mexican) – m. 43-60 in high instruments
Arirang (Korean) – m. 50-68 in low instruments
Shalom, Chaverim – m. 61-68 in low instruments
My Lord, What a Morning (Negro Spiritual) – m. 79-86 in low instruments
Swing Low, Sweet Chariot (Negro Spiritual) – m. 79-86 in
high instruments
Santa Lucia (Italian) – m. 87-103
Hymn To The Sun (Aztec) – m. 104-115
Face Dance song (Quapaw Indians) – m. 116-153, 177 – end
Rice Harvesting song (Vietnamese) – 159 -175
Sunset Song (Zuni Indians) – m. 159 -178
To see and hear this composition, go to http://www.cooppress.net/Melting_Pot_Band/Melting_Pot_Band.html.
Thursday, May 8, 2014
Chamber Music Composition Commissioning Consortium
A Commissioning Consortium is being formed for me to compose
a college level composition for any combination of 3-5 instrumentalists. It would be called
Wonderland Portraits and contain descriptive movements such as Alice, the
Mad Hatter, the White Rabbit, the Duchess, and the March Hare. The composition
would be created so that it can be customized to fit each of the participating
ensembles' instrumentation, either non-standard or standard. Rebecca Hovans'
review in the Winter 2014 Flute Quarterly of Brandon's compositions on the
Ardente Duo CD states, "Many of the pieces are adaptions for flute and
clarinet of works previously composed for other instruments. However, had I not
known this from reading the program notes, I would have never guessed. The
pieces fit the flute/clarinet pairing perfectly."
Interested parties agree to pay a refundable $25 participation
fee upon receipt of a pdf copy of the music. The fee will be refunded upon
receipt of a program and recording of the performance. 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.
For
more information about this project, please visit http://www.cooppress.net/page9/index.html Deadline
for inclusion in commissioning consortium is June 15, 2014.
Subscribe to:
Posts (Atom)