During April, I will be moving to Arizona. We have sold our house in Pennsylvania and will be camping until we find our new home. As a result, my composing activities have been put on hold. I hope to be able to do some composing while camping, but it all depends on how quickly we find a house. I'll be reading any comments that are posted during this time and will resume posting as I begin working on new projects.If you haven't had the opportunity to read my earlier posts, I suggest that you do so. There are a lot of ideas regarding composing and interpreting music that could be helpful for developing composers and to those just interested in learning more about music.
Dr. B
Monday, March 30, 2009
Monday, March 16, 2009
Contrasts Revised
I heard back from John DelVento who had a few good suggestions to adapt the piece to his needs. The first suggestion was in response to my concern about range. The high Db in measure 48 was possible but would be a weak sounding note. Since I wanted this to build to the Allegro, I changed measure 48 to a 3/4 measure, left out the Db on beat 4 and altered notes on the 2nd beat. This accomplishes the drive to the Allegro I wanted in a similar manner.
I was also concerned about the range at the end of the piece, but John said this would be okay. But in looking at it again, I decided to take the first run down an octave which makes the ending more effective.
John also wanted more rhythmic variety in measure 102. Since I wanted a repeated note idea for the beginning of the canon, I broke up the constant 16th notes by putting a eighth note on beat 3.
The last revision was to add a ritard on beat 4 of measure 38 with an A tempo on measure 38. I like this change and it shows the musicality of John, who made the suggestion.
Composers should always be willing to adapt their music to the needs of their performers if it does not compromise in intent of the music. I also find that a objective 2nd party who can listen to my music with fresh ears can also be a benefit. I usually play my compositions for my wife who has come up with many fine ideas to improve my music. Even though I have been composing for 55 years, I still have things that I can learn from others. I thank all those who have offered suggestions over the years. Creating a musical composition is similar to an author creating a novel. If one reads the acknowledgments at the beginning of the book, one realizes that the final product is a result of many others who inspire or assist in the creation of the final product.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
I was also concerned about the range at the end of the piece, but John said this would be okay. But in looking at it again, I decided to take the first run down an octave which makes the ending more effective.
John also wanted more rhythmic variety in measure 102. Since I wanted a repeated note idea for the beginning of the canon, I broke up the constant 16th notes by putting a eighth note on beat 3.
The last revision was to add a ritard on beat 4 of measure 38 with an A tempo on measure 38. I like this change and it shows the musicality of John, who made the suggestion.
Composers should always be willing to adapt their music to the needs of their performers if it does not compromise in intent of the music. I also find that a objective 2nd party who can listen to my music with fresh ears can also be a benefit. I usually play my compositions for my wife who has come up with many fine ideas to improve my music. Even though I have been composing for 55 years, I still have things that I can learn from others. I thank all those who have offered suggestions over the years. Creating a musical composition is similar to an author creating a novel. If one reads the acknowledgments at the beginning of the book, one realizes that the final product is a result of many others who inspire or assist in the creation of the final product.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
Sunday, March 15, 2009
Contrasts for Euphonium and Piano Part 2 Completed
I have now completed Contrasts with the exception of getting feedback from John DelVento. I have sent him a copy of the euphonium part for his comments.
I have continued the idea of contrasts throughout this second part. It is imperative that the performers observe the dynamics and articulations for the piece to have its maximum effect. The second part is in an arch form ABCBA where the C section serves as a development of ideas from the A and B sections. The C section also introduces a new thematic idea that is treated canonically. The euphonium uses double tonguing to introduce the canon and the piano uses staccato eighth notes as rapid repetitions of the same pitch are not characteristic of the piano. The sections of the second part are as follows: M. 49-50 transition from slow to fast section. M 51-79 A. M 79-97 B. M 97-101 transition to C. M 102-134 C (development). Of note in this section is the canon I described earlier and the use of the B theme over the canon beginning at M 118. M. 135-138 transition back to B (these contrasting measures are used often for transitions and surprise, like at 157-159 which brings the listener back to the A material). M.160-179 A. M 179-end concluding section or coda.
I urge all composers to format their own parts. When I do this, I see each part from a more linear perspective. While I was formatting the euphonium part, I discovered that I did not give the euphonium player as much rest as I thought I did when composing the piece. This raises a question of endurance and I am asking John to comment on this aspect of the piece. I think it will be okay as there are numerous short rests and two longer multi-measure rests. I became aware of this when trying to figure out where to put page turns. In one place (M. 116), I actually removed some notes from the euphonium part so that a page turn could be accomplished. I added some dynamics at that point to make the rest of it fit what I intended.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
I have continued the idea of contrasts throughout this second part. It is imperative that the performers observe the dynamics and articulations for the piece to have its maximum effect. The second part is in an arch form ABCBA where the C section serves as a development of ideas from the A and B sections. The C section also introduces a new thematic idea that is treated canonically. The euphonium uses double tonguing to introduce the canon and the piano uses staccato eighth notes as rapid repetitions of the same pitch are not characteristic of the piano. The sections of the second part are as follows: M. 49-50 transition from slow to fast section. M 51-79 A. M 79-97 B. M 97-101 transition to C. M 102-134 C (development). Of note in this section is the canon I described earlier and the use of the B theme over the canon beginning at M 118. M. 135-138 transition back to B (these contrasting measures are used often for transitions and surprise, like at 157-159 which brings the listener back to the A material). M.160-179 A. M 179-end concluding section or coda.
I urge all composers to format their own parts. When I do this, I see each part from a more linear perspective. While I was formatting the euphonium part, I discovered that I did not give the euphonium player as much rest as I thought I did when composing the piece. This raises a question of endurance and I am asking John to comment on this aspect of the piece. I think it will be okay as there are numerous short rests and two longer multi-measure rests. I became aware of this when trying to figure out where to put page turns. In one place (M. 116), I actually removed some notes from the euphonium part so that a page turn could be accomplished. I added some dynamics at that point to make the rest of it fit what I intended.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
Monday, March 2, 2009
Contrasts for Euphonium and Piano Part 2
I have begun the fast section of Contrasts and I am pleased with how it is going. It is challenging for me to compose with uninterrupted daily sessions as things keep coming up regarding my impending move to the Southwest. I also spent several days moving some cassette recordings of my music over to digital. That was an interesting project as it gave me a chance to review several earlier compositions and I have decided to eliminate some of those works from my catalog. My main reason for eliminating them was because they are too dissonant. They were composed during the 1970's and early 1980's and I find that I have become more tonal in my later years.
The fast section of Contrasts begins with a syncopated motif in the euphonium and a staccato 1/8 note bass line in the piano. The piano soon picks up the syncopated rhythmic feel while the euphonium becomes more lyrical with its line that is interspersed with some staccato figures for contrast. I find myself attracted lately to a 3 phrase structure reminiscent of the 12 bar blues (a a b). However my 3 phrase structure is often 11 bars instead of 12. The piano them takes over the euphonium part in the right hand beginning at measure 62 while the left hand remains syncopated. From measure 73 to the downbeat of 79, the euphonium and piano have a transition section consisting of the running 16th notes over syncopation. From the 2nd beat of measure 79 up to where I stopped is a more lyrical 2nd theme (also in a 3 phrase structure) over a quiet yet intense bass line. The piano fills in with some running 16th notes during the euphonium sustained notes. The harmony of this fast section is primarily quartal (chords and arpeggios in 4ths instead of 3rds).
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
The fast section of Contrasts begins with a syncopated motif in the euphonium and a staccato 1/8 note bass line in the piano. The piano soon picks up the syncopated rhythmic feel while the euphonium becomes more lyrical with its line that is interspersed with some staccato figures for contrast. I find myself attracted lately to a 3 phrase structure reminiscent of the 12 bar blues (a a b). However my 3 phrase structure is often 11 bars instead of 12. The piano them takes over the euphonium part in the right hand beginning at measure 62 while the left hand remains syncopated. From measure 73 to the downbeat of 79, the euphonium and piano have a transition section consisting of the running 16th notes over syncopation. From the 2nd beat of measure 79 up to where I stopped is a more lyrical 2nd theme (also in a 3 phrase structure) over a quiet yet intense bass line. The piano fills in with some running 16th notes during the euphonium sustained notes. The harmony of this fast section is primarily quartal (chords and arpeggios in 4ths instead of 3rds).
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
Wednesday, February 18, 2009
Contrasts for Euphonium and Piano Part 1
I have completed the slow section of this two-part piece and I am pleased with the results. However, I was not feeling that way while I was working on the piece. I mentioned in my last post that I was pleased with the beginning of the piece and will then need to see where the piece takes me. What I mean by this statement is that my music, as well as a lot of other contemporary music, is based on motives rather than themes or melodies that occur in regular phrases. Therefore the traditional formal treatments do not seem to apply and it is often unclear what structure the composition will take. It wasn't until Monday, when I reached the climax at measure 24, that the shape of this section became clear. This part is a loose ABA structure with the first A going from the beginning to measure 16, the B section from measure 17-25, and the last A, with some slight changes,from 26-42. A euphonium cadenza serves as an interlude to the upcoming Allegro.
The way each section is constructed is based on key motives that suggest new melodic ideas. The harmony is a result of the independent, yet related lines in the euphonium and in both hands of the piano. Let me identify some of the key motivic ideas and then you can try to find them being used in both the euphonium and piano parts throughout this section.
The opening 16th notes in the piano becomes what I call a noodling motif. It comes back in various forms in both instruments. The three 8th note idea that leads to longer note that occurs first in the euphonium melody in measure 1 to measure 2 is another important recurring idea. The two 16th notes followed by an 8th note which first occurs in the euphonium in measure 5 gets transformed in its melodic direction, but is an important unifying rhythmic idea. The syncopated 8th 1/4 8th rhythm that is used for sudden contrast in the piano in measure 3, dominates the middle section and is the main feature of the climax. The triplets, sextuplets, and 32nd notes all add rhythmic variety and are interspersed at key moments in this section and are also important in the cadenza. Another key element is the interval of an ascending minor 7th that is used throughout, but especially at the climaxes.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
The way each section is constructed is based on key motives that suggest new melodic ideas. The harmony is a result of the independent, yet related lines in the euphonium and in both hands of the piano. Let me identify some of the key motivic ideas and then you can try to find them being used in both the euphonium and piano parts throughout this section.
The opening 16th notes in the piano becomes what I call a noodling motif. It comes back in various forms in both instruments. The three 8th note idea that leads to longer note that occurs first in the euphonium melody in measure 1 to measure 2 is another important recurring idea. The two 16th notes followed by an 8th note which first occurs in the euphonium in measure 5 gets transformed in its melodic direction, but is an important unifying rhythmic idea. The syncopated 8th 1/4 8th rhythm that is used for sudden contrast in the piano in measure 3, dominates the middle section and is the main feature of the climax. The triplets, sextuplets, and 32nd notes all add rhythmic variety and are interspersed at key moments in this section and are also important in the cadenza. Another key element is the interval of an ascending minor 7th that is used throughout, but especially at the climaxes.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
Monday, February 9, 2009
New Piece for Euphonium and Piano
After spending the past three weeks preparing our home for sale so that we can move to Arizona, I am finally back composing. My next project is a composition for euphonium and piano for John DelVento, a very talented high school student from Connecticut. Since we are looking at a piece that lasts approximately eight minutes, I thought I would write a piece that begins with a slow section and ends with a fast section. This approach gave rise to the title "Contrasts", and the title suggested the opening of the piece. I began with a high piano arpeggiation that is vague in tonality. The euphonium enters one and half beats later with a low and sustained line therefore setting up the first contrast. Other contrasts occur in measure three with the articulation of the piano at the end of the measure and in measures 4 and 5 where the texture changes to euphonium alone. Measure 5 is also a contrast to the quarter note pulse by using an uneven 7/8. There are also contrasts in tonality as the piece does settle in any one place. These contrasts are subtle, but nonetheless important to the musical expression of the piece.
I always find getting started on a new piece challenging, especially after a lay off from composing. I have this fear that I won't be able to come up with anything and if I do, it will sound just like something I have already written. It still amazes me that I can come up with something new each time. I am looking forward to working on this piece and seeing where it takes me.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
I always find getting started on a new piece challenging, especially after a lay off from composing. I have this fear that I won't be able to come up with anything and if I do, it will sound just like something I have already written. It still amazes me that I can come up with something new each time. I am looking forward to working on this piece and seeing where it takes me.
To see and hear what I have composed thus far, go to http://www.cooppress.net/contrasts_blog.html
Dr. B
Tuesday, January 27, 2009
A Busy January
I wish to explain my absence from posting on this blog for over a month. My compositional efforts have been focused on arranging the song contest winners in the York Symphony Orchestra competition. There were five compositions awarded prizes and part of the prize is to have their composition arranged for orchestra and performed by the York Symphony. The winners range in age from 9 through 14 and I am astounded at the talent these young composers display.
I also worked with an organist on registration and reworking three of my chorale preludes to enter in a competition. Since the competition required anonymous entries, I cannot post my revisions, but I would like to share with you some of the things that I have learned that are not in any books and articles about writing for organ. Regarding writing for the pedals, it is easier for the organist to alternate feet than to slide the foot. Therefore I reworked my pedal part to alternate feet more often. I also tended to use the extreme low notes too often that had the organist constantly reaching to his left with his feet instead of playing toward the middle of the pedals most of the time. For the manuals, I reworked some of the voicing so that the organist’s fingers could glide from note to note instead of lifting the hand. Lastly, we rebalanced the registration in order to bring out the important lines.
I also took a two-week vacation to southern Georgia. When my wife and I arrived home, we decided that it was time to leave Pennsylvania and relocate in the sunny southwest. During the past two weeks, we have been readying our house for sale and making plans to relocate. Now that the house is listed, we are gradually going through our belongings and selling off or giving away many things and packing the rest. We hope that the house will sell quickly so that we can get on the road by mid-April. We plan to camp in our van until we find a place to relocate and then send for our belongings. We are looking forward to both the adventure and to being settled in a new place.
My next project is to compose a piece for euphonium and piano for a very talented high school student, John DelVento. I hope to work on it while waiting for the house to sell and during our travels. I will try to post more often during the transition period in our lives.
Dr. B
I also worked with an organist on registration and reworking three of my chorale preludes to enter in a competition. Since the competition required anonymous entries, I cannot post my revisions, but I would like to share with you some of the things that I have learned that are not in any books and articles about writing for organ. Regarding writing for the pedals, it is easier for the organist to alternate feet than to slide the foot. Therefore I reworked my pedal part to alternate feet more often. I also tended to use the extreme low notes too often that had the organist constantly reaching to his left with his feet instead of playing toward the middle of the pedals most of the time. For the manuals, I reworked some of the voicing so that the organist’s fingers could glide from note to note instead of lifting the hand. Lastly, we rebalanced the registration in order to bring out the important lines.
I also took a two-week vacation to southern Georgia. When my wife and I arrived home, we decided that it was time to leave Pennsylvania and relocate in the sunny southwest. During the past two weeks, we have been readying our house for sale and making plans to relocate. Now that the house is listed, we are gradually going through our belongings and selling off or giving away many things and packing the rest. We hope that the house will sell quickly so that we can get on the road by mid-April. We plan to camp in our van until we find a place to relocate and then send for our belongings. We are looking forward to both the adventure and to being settled in a new place.
My next project is to compose a piece for euphonium and piano for a very talented high school student, John DelVento. I hope to work on it while waiting for the house to sell and during our travels. I will try to post more often during the transition period in our lives.
Dr. B
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