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
Friday, March 14, 2014
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.
Sunday, December 15, 2013
Bandscapes Movement 13 - Finale Variations
I am pleased that I have completed the last movement to Bandscapes. Before I discuss it, let me once again thank the sixteen bands that have joined the consortium to help make this composition possible. I am very pleased with the results as the composition and poetry accomplishes what I set out to do; creating a composition that introduces the instruments of the band to an audience of all ages in a manner that is educational, entertaining, and artistic. I am sending a copy of the score to the participating bands so that can they can review what I have written and suggest any simplifications that might be made as ossia parts to accommodate the level of their band.
Narration for Finale Variations
After all these solos, it is time for review
First the band plays a theme that is totally new.
Many variations follow that alter the theme
Like 31 flavors of Baskin-Robbins Ice Cream.
Now that you have heard the instruments featured
We will mix them together to create new creatures.
Brand new colors by combining the tones
Clarioboe, tubassoon, xyloflute and baribone.
We hope that you have enjoyed this tour of the band
Its many sounds are surely grand.
Sit back and relax and keep an instrument tally
While the concert band plays its glorious finale.
My goal in this last movement was to create a theme and variations where different combinations of instruments could be explored. I had two false starts trying find a theme that would work before coming up with the one I settled on. This theme is like a passacaglia theme in that it first appears in the bass instruments and then new treatments occur over it. The theme itself is 16 measures long and consists of 4 four measure phrases forming and ABA'B' structure of a double period (antecedent, consequence ending on the dominant, antecedent, consequence). There are frequent orchestration changes during the theme, sometimes every 8 measures and sometimes every 4, giving the movement a lot of timbral variety. I had to be careful to double sufficiently so that if some instrumentation is lacking, the timbres are covered by the more common instruments.
Another challenge I faced with this movement was the regularity of the meter (3/4) and phrasing. I felt that this regularity needed to broken up without destroying the essential nature of the theme. I accomplished by changing some phrase endings to 2/4 or 4/4, overlapping into the next phrase, and retardations (suspending the leading tone resolution over the chord change before resolving upward).
Another ingredient that makes this apparently simple structure more complex is the use of imitation. Measure 16 and 17 usher in the first use between the trumpets and oboe combination and the clarinets. Slight bitonality is used here as well. Measure 32 introduces a counter melody that uses a dotted rhythm that is also treated imitatively. At measure 48, the theme itself is varied through the use of triplets and then subject to imitation. The dotted rhythm idea also occurs with its on imitation creating double counterpoint. This dotted rhythm imitation disguising the 3/4 pattern as it occurs every two beats therefore creating a hemiola feel. At measure 60, the last phrase of the theme appears in 4 part counterpoint one beat apart.
After a two measure percussion and piccolo interlude, the final variation begins at measure 67 with an augmentation of the theme's rhythm into straight eighth notes and an eighth note triplet before sustaining. The woodwinds play flourishes during the sustain notes. Further fragmentation and inversion of a motive from the last phrase of the theme, brings the meter into 2/4. Repetition and increased instrumentation and dynamics lead to the climatic ending.
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/Bandscapes_blog.html.
Please read earlier posts for information about earlier movements. As always, your comments are appreciated.
Dr. B
Narration for Finale Variations
After all these solos, it is time for review
First the band plays a theme that is totally new.
Many variations follow that alter the theme
Like 31 flavors of Baskin-Robbins Ice Cream.
Now that you have heard the instruments featured
We will mix them together to create new creatures.
Brand new colors by combining the tones
Clarioboe, tubassoon, xyloflute and baribone.
We hope that you have enjoyed this tour of the band
Its many sounds are surely grand.
Sit back and relax and keep an instrument tally
While the concert band plays its glorious finale.
My goal in this last movement was to create a theme and variations where different combinations of instruments could be explored. I had two false starts trying find a theme that would work before coming up with the one I settled on. This theme is like a passacaglia theme in that it first appears in the bass instruments and then new treatments occur over it. The theme itself is 16 measures long and consists of 4 four measure phrases forming and ABA'B' structure of a double period (antecedent, consequence ending on the dominant, antecedent, consequence). There are frequent orchestration changes during the theme, sometimes every 8 measures and sometimes every 4, giving the movement a lot of timbral variety. I had to be careful to double sufficiently so that if some instrumentation is lacking, the timbres are covered by the more common instruments.
Another challenge I faced with this movement was the regularity of the meter (3/4) and phrasing. I felt that this regularity needed to broken up without destroying the essential nature of the theme. I accomplished by changing some phrase endings to 2/4 or 4/4, overlapping into the next phrase, and retardations (suspending the leading tone resolution over the chord change before resolving upward).
Another ingredient that makes this apparently simple structure more complex is the use of imitation. Measure 16 and 17 usher in the first use between the trumpets and oboe combination and the clarinets. Slight bitonality is used here as well. Measure 32 introduces a counter melody that uses a dotted rhythm that is also treated imitatively. At measure 48, the theme itself is varied through the use of triplets and then subject to imitation. The dotted rhythm idea also occurs with its on imitation creating double counterpoint. This dotted rhythm imitation disguising the 3/4 pattern as it occurs every two beats therefore creating a hemiola feel. At measure 60, the last phrase of the theme appears in 4 part counterpoint one beat apart.
After a two measure percussion and piccolo interlude, the final variation begins at measure 67 with an augmentation of the theme's rhythm into straight eighth notes and an eighth note triplet before sustaining. The woodwinds play flourishes during the sustain notes. Further fragmentation and inversion of a motive from the last phrase of the theme, brings the meter into 2/4. Repetition and increased instrumentation and dynamics lead to the climatic ending.
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/Bandscapes_blog.html.
Please read earlier posts for information about earlier movements. As always, your comments are appreciated.
Dr. B
Thursday, December 5, 2013
Bandscapes Movements 10, 11, and 12
I am surprised with how quickly this composition is coming together. When I say quickly, I mean that it is taking me 4-6 hours for the smaller movements and 3-4 times as long for the first movement. I think the reason why it feels fast is because there is not much development of the material as I'm am trying to keep each "instrument demonstration" movement to 30-45 seconds. However, I do try to add slight variations to initial idea, whether it be orchestration, ornamentation, rhythm, dynamics, articulation, tempo, etc.
Here is the narration for Baritone Ballad (with apologies to Shakespeare)
What's in a name? That which we call a baritone
By any other name would sound as sweet;
So a baritone would, if it were a euphonium call'd,
Retain that dear perfection.
Its deep rich voice sounds like Romeo in love
Singing to Juliet on the balcony above
This lyrical ballad its amorous voice
Euphonium or baritone, the player’s choice.
A 5/4 meter in a slow tempo was chosen for this movement. I look for little ways to give fairly straight-forward music a little twist and in this case, the 5/4 meter creates a different rhythmic feel for the ballad. I also use rich jazz harmony and the accompaniment is syncopated. There is a blues feel to some of the motives.
Narration for Tuba Tango
The tuba rounds out the band’s brass section
Its deep low voice sounding to perfection.
When it wraps around the head it is called a sousaphone
Because of its size, with a lot of wind it’s blown.
Known for its oom-pah due to polkas and marches
Supporting the band like majestic arches
Now it is featured in this Argentine dance
Sensuous and sultry, a mesmerizing trance.
The form of this short moveent is in ABAB with A being diatonic and B being chromatic. The full band section is very colorful with French Horn and trombone rips (glissandi).
Narration for Percussion Polka
The percussion make their sounds by striking
Almost anything they find to their liking.
Some of the sounds have a definite pitch
Others have none, yet still are rich.
Xylophones, timpani, and bells sounding clear
Things hitting metal, skin and wood you will hear
Mallets and sticks and even a spoon
Creating this polka, a light lilting tune.
The band plays a short introduction before the percussion take over with an AABA form. The 4 measures main theme starts diatonically and finishes chromatically. These 4 measure phrases are followed by the indefinite pitch percussion along with the timpani. The triangle and the suspended cymbal are indeed hit with a spoon as the poem suggests.
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/Bandscapes_blog.html.
Please read earlier posts for information about earlier movements. As always, your comments are appreciated.
Dr. B
Here is the narration for Baritone Ballad (with apologies to Shakespeare)
What's in a name? That which we call a baritone
By any other name would sound as sweet;
So a baritone would, if it were a euphonium call'd,
Retain that dear perfection.
Its deep rich voice sounds like Romeo in love
Singing to Juliet on the balcony above
This lyrical ballad its amorous voice
Euphonium or baritone, the player’s choice.
A 5/4 meter in a slow tempo was chosen for this movement. I look for little ways to give fairly straight-forward music a little twist and in this case, the 5/4 meter creates a different rhythmic feel for the ballad. I also use rich jazz harmony and the accompaniment is syncopated. There is a blues feel to some of the motives.
Narration for Tuba Tango
The tuba rounds out the band’s brass section
Its deep low voice sounding to perfection.
When it wraps around the head it is called a sousaphone
Because of its size, with a lot of wind it’s blown.
Known for its oom-pah due to polkas and marches
Supporting the band like majestic arches
Now it is featured in this Argentine dance
Sensuous and sultry, a mesmerizing trance.
The form of this short moveent is in ABAB with A being diatonic and B being chromatic. The full band section is very colorful with French Horn and trombone rips (glissandi).
Narration for Percussion Polka
The percussion make their sounds by striking
Almost anything they find to their liking.
Some of the sounds have a definite pitch
Others have none, yet still are rich.
Xylophones, timpani, and bells sounding clear
Things hitting metal, skin and wood you will hear
Mallets and sticks and even a spoon
Creating this polka, a light lilting tune.
The band plays a short introduction before the percussion take over with an AABA form. The 4 measures main theme starts diatonically and finishes chromatically. These 4 measure phrases are followed by the indefinite pitch percussion along with the timpani. The triangle and the suspended cymbal are indeed hit with a spoon as the poem suggests.
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/Bandscapes_blog.html.
Please read earlier posts for information about earlier movements. As always, your comments are appreciated.
Dr. B
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