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

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:

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

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.

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.

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.
 


My Spring Tour

I just returned from a tour to San Marcos Texas for the premiere of my Modern Jazz Suite for Alto Saxophone and Guitar by Texas State University professors, Todd Oxford and Mark Cruz.  Todd also performed my Four Spanish Dances for Alto Saxophone and Marimba with Bobby Lopez. While at Texas State, I gave a lecture on Aesthetics of Music. Other activities during the tour was a rehearsal with the Rio Rico High School Band in Rio Rico, AZ who will be premiering my Bandscapes on May 2 and three presentations on Mariachi Music at retirement communities along my route. It was a fun and musically rewarding trip.

Neverland for Woodwind Quintet Movements 7 and 8

Movement 7 "Children's March" is very straight forward in melody, harmony and phrasing. I tried to create interest by varying the orchestration, through modulation, and through an increase in tempo.

Movement 8 "Peter Pan" is also straight forward except for the use of the lowered 7th creating a borrowed chord (minor instead of major) in the harmony. Tempo change and melodic variation add some interest.

This completes "Neverland" for woodwind quintet and narrator. I enjoyed working on this composition and look forward to hearing recordings of it when it is performed by members of the Woodwind Quintet Commissioning Consortium.

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

Neverland for Woodwind Quintet Movement 5 and 6

Movement V is the "Capture of the Children by Hook". The pirate theme that was introduced in movement 4 is now fully developed and appears in the Horn from measure 1 to measure 12 and then in canon between the oboe and Horn beginning at measure 13. A countermelody is introduced by the clarinet at measure 13 as well. As the intensity builds dynamically, the countermelody takes on more weight becoming offset with syncopation at measure 26. The fortissimo section at measure 38 uses an augmented version of the pirate melody simultaneously with the regular version, leading to the climax at the end.

Movement 6 " Peter to the Rescue" begins with the flute picking up the "tick-tock" from the poetry. Most of this movement is constructed from diminished 7th chords, both melodically and harmonically. Variation is achieved by varying the type of diminished 7th chord from fully diminished to half diminished. The subito allegro section at measure 9 represents the battle between Peter and Hook. The listener can hear a vague outline of the "Children's March" theme that was first heard in movement 4, transformed from a major triad to a diminished triad, alternating with fragments of Hook's theme as the children and the pirates do battle. The movement ends with the crocodile slinking away after he has swallowed Hook.

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