I am now in southern Oregon and had a chance to work on the first variation and complete it today. The first variation is in a Presto tempo which creates a dramatic contrast to the lilting theme. The motives from the theme that play a dominant role in this variation are the flute idea from M. 9 of the theme and the 16th note descending pattern first seen in M. 6 of the flute in the theme. The rhythm of these ideas is translated into a 2/4 pattern.
After a two measure flourish in the flute, variation 1 begins with the descending idea in the clarinet in measure 3 followed by the two 16th and eighth motive in the flute in measure 4. At M. 7-9, the clarinet has a syncopated version of the two 16th and eighth idea that later turns into a hemiola (3/8 against the 2/4) ostinato accompanying the melody lines. The lines develop and subtly change as the movement progresses. About 2/3 through the variation, I felt things were getting tonally static. This suggested the idea of sequencing down a step that led to the material at 68-70 and 81-end. The variation ends quietly after being loud and energetic throughout.
To see and hear what I have composed thus far, go to http://www.cooppress.net/regalvariationsblog.html
The score is in concert pitch.
Dr. B
Tuesday, June 10, 2008
Wednesday, June 4, 2008
Regal Variations
I'm writing this blog from a lovely city RV Park in Eastern Oregon. Our vacation has been enjoyable and I have found a few times to compose my next commission, which is a piece for Flute and Clarinet for the Ballif Duo. I was listening to my satellite radio and heard Elgar's Enigma Variations which is one of my favorite pieces and thought I'd like to write a set of variations in the manner of Elgar. The "Enigma Variations" is truly a symphonic development of the musical material rather than a set of variations where the theme structure remains the same and the variations are built on that structure. My "Regal Variations" (Regal being and anagram of Elgar) will attempt to symphonic develop the theme as well.
I have composed my thematic material. It is about 45 seconds in length and is in a lilting 6/8 rhythm. The theme is in a rounded binary form ABA'. The A section goes from the beginning to measure 13 and the B section from 13 to the end. It is rounded because a small piece of A returns in the last two measures. In addition to the use of canon between the two parts, much of the melodic material is motivically derived, therefore giving the theme a symphonic quality even before the variations begin.
As I was composing this, I kept questioning whether this is my theme or will it turn out to be a variation. It was only when I began the first variation that I became convinced that this is my theme. I have just begun the first variation so I will discuss that after it is complete.
To see and hear what I have composed thus far, go to http://www.cooppress.net/regalvariationsblog.html
The score is in concert pitch.
Dr. B
I have composed my thematic material. It is about 45 seconds in length and is in a lilting 6/8 rhythm. The theme is in a rounded binary form ABA'. The A section goes from the beginning to measure 13 and the B section from 13 to the end. It is rounded because a small piece of A returns in the last two measures. In addition to the use of canon between the two parts, much of the melodic material is motivically derived, therefore giving the theme a symphonic quality even before the variations begin.
As I was composing this, I kept questioning whether this is my theme or will it turn out to be a variation. It was only when I began the first variation that I became convinced that this is my theme. I have just begun the first variation so I will discuss that after it is complete.
To see and hear what I have composed thus far, go to http://www.cooppress.net/regalvariationsblog.html
The score is in concert pitch.
Dr. B
Friday, May 16, 2008
Hep Cats Movement 3
The third movement is called "Tom" and it captures the aggressive, macho characteristics of a tom cat. It is in a fast rock tempo. The way this movement is constructed is by using short motifs that constantly interchange with each other and are varied by tonality, modality, interval, or by extension. I will identify the motifs for you below and leave finding where, when and how they are used up to you.
motive 1 - M. 1 beats 1 and 2
motive 2 - M. 1 beats 3 and 4
motive 3 - M. 2 beats 1 and 2
motive 4 - M. 4 entire measure
motive 5 - M. 7 beats 3 and 4
motive 6 - M. 8 beats 1 and 2
motive 7 - M, 12 beats 3 and 4
motive 8 - M. 14 beats 3 and 4
The overall form is an arch form with a short coda. For the center section M. 31-43, I felt I needed contrast to the outer sections that use the constant juxtaposition of the motives. I briefly toyed with the idea of using a more sustained melody but it didn't feel right. While doing my morning stretching, I was watching the weather channel and for the "Local on the 8's" they had rock music playing in the background that was using a repetitive riff. It was then that it dawned on me that a riff section is what I need to create the contrast. This middle section consists of 3 four measure phrases that are built off of a riff idea.
There are several climaxes throughout this movement. They occur at loud spots and/or high spots and they give the movement direction. Dynamic contrast is very important in making a composition for a solo single line instrument interesting.
I will be taking a real vacation between May 19 and June 27. I will be bringing my keyboard and computer with me as composing for me is very relaxing. I will be posting to my blog sporadically however as the next piece I work on develops. This may be a good time for those fairly new to my blog to read some of the previous posts and share your comments.
To see and hear what I have composed thus far, go to http://www.cooppress.net/hepcatsblog.html
The score is transposed.
Dr. B
motive 1 - M. 1 beats 1 and 2
motive 2 - M. 1 beats 3 and 4
motive 3 - M. 2 beats 1 and 2
motive 4 - M. 4 entire measure
motive 5 - M. 7 beats 3 and 4
motive 6 - M. 8 beats 1 and 2
motive 7 - M, 12 beats 3 and 4
motive 8 - M. 14 beats 3 and 4
The overall form is an arch form with a short coda. For the center section M. 31-43, I felt I needed contrast to the outer sections that use the constant juxtaposition of the motives. I briefly toyed with the idea of using a more sustained melody but it didn't feel right. While doing my morning stretching, I was watching the weather channel and for the "Local on the 8's" they had rock music playing in the background that was using a repetitive riff. It was then that it dawned on me that a riff section is what I need to create the contrast. This middle section consists of 3 four measure phrases that are built off of a riff idea.
There are several climaxes throughout this movement. They occur at loud spots and/or high spots and they give the movement direction. Dynamic contrast is very important in making a composition for a solo single line instrument interesting.
I will be taking a real vacation between May 19 and June 27. I will be bringing my keyboard and computer with me as composing for me is very relaxing. I will be posting to my blog sporadically however as the next piece I work on develops. This may be a good time for those fairly new to my blog to read some of the previous posts and share your comments.
To see and hear what I have composed thus far, go to http://www.cooppress.net/hepcatsblog.html
The score is transposed.
Dr. B
Monday, May 12, 2008
Hep Cats Movement 2
Today I am posting the completed 2nd movement. Whereas the first movement "Siamese" has a lively and playful, yet sophisticated quality, the second movement "Angora" is mysterious, aloof, and vain.
The movement begins with an angular, yet expressive 7/8 melody suggesting the Angora's superiority complex. This idea is then followed by a staccato, rhythmic ostinato idea in mainly 3/4 suggesting the cat's sneakiness. I commented in my last post about the difficulty in creating counterpoint with a single melodic line. I have played a wonderful piece by Fred L. Clinard called Sonata for Unaccompanied Euphonium that effectively uses counterpoint. He has a low rhythmic figure that is interrupted by a lyrical melodic phrase. The two alternate for an extended time giving the illusion of two separate lines. Even though the don't literally occur simultaneously, it creates the illusion that the bass line is continuing while the lyrical line is being played. I tried to do the same type of thing in this movement except mine is in a slow tempo and Clinard's is at a fast tempo. From M. 16-26, the rhythmic ostinato alternates with phrases of the 7/8 angular melody therefore creating a sense of counterpoint. M. 27-32 uses a variant of the rhythmic ostinato idea. The tempo picks up again for even more variety.
The movement is in an arch form. the apex of the arch is the lyrical line that represents Angora's beauty from M. 33-50. After the climax, we return to yet another variant of the ostinato idea from M. 51 - 64 and then finally back to the 7/8 angular idea to end the arch form AB(A + B) C B' A'.
This movement has a modern jazz ballad flavor, sort of a 3rd stream. The intervals are bluesy, but the inflections are more classical.
To see and hear what I have composed thus far, go to http://www.cooppress.net/hepcatsblog.html
The score is transposed.
Dr. B
The movement begins with an angular, yet expressive 7/8 melody suggesting the Angora's superiority complex. This idea is then followed by a staccato, rhythmic ostinato idea in mainly 3/4 suggesting the cat's sneakiness. I commented in my last post about the difficulty in creating counterpoint with a single melodic line. I have played a wonderful piece by Fred L. Clinard called Sonata for Unaccompanied Euphonium that effectively uses counterpoint. He has a low rhythmic figure that is interrupted by a lyrical melodic phrase. The two alternate for an extended time giving the illusion of two separate lines. Even though the don't literally occur simultaneously, it creates the illusion that the bass line is continuing while the lyrical line is being played. I tried to do the same type of thing in this movement except mine is in a slow tempo and Clinard's is at a fast tempo. From M. 16-26, the rhythmic ostinato alternates with phrases of the 7/8 angular melody therefore creating a sense of counterpoint. M. 27-32 uses a variant of the rhythmic ostinato idea. The tempo picks up again for even more variety.
The movement is in an arch form. the apex of the arch is the lyrical line that represents Angora's beauty from M. 33-50. After the climax, we return to yet another variant of the ostinato idea from M. 51 - 64 and then finally back to the 7/8 angular idea to end the arch form AB(A + B) C B' A'.
This movement has a modern jazz ballad flavor, sort of a 3rd stream. The intervals are bluesy, but the inflections are more classical.
To see and hear what I have composed thus far, go to http://www.cooppress.net/hepcatsblog.html
The score is transposed.
Dr. B
Wednesday, May 7, 2008
New Piece for Solo Eb Clarinet
I have been traveling again, this time to the University of Iowa for a premiere of my "Guatemaya" for marimba by Meggie Aube on her masters recital. We had a nice dress rehearsal together. The challenge was to make adjustments as Meggie had the piece memorized. She had to get the new changes (mainly dynamics and phrasing) into her mind, which is not as easy as marking the music with a pencil. She made the adjustments very quickly however. During the performance, Meggie had one memory slip at the very beginning of the piece, but after that, the performance went smoothly and was well received. While at the U of I, I meet with three graduate students with whom I have written pieces for recording projects.
I began to work on my next commission while in Iowa and finished the 1st movement today. This piece is for William Kelly, who is doing a CD of unaccompanied clarinet music. He wanted a piece for Eb clarinet, although this piece can be done on any clarinet. He also wanted a jazz influenced piece, therefore the title "Hep Cats". The title has double meaning, cats meaning jazz musicians, and also the feline species. I am a cat lover, so several of my pieces have cat titles and descriptions. I am sad to say that the latest member of our cat family "Siegfried" went to cat heaven on Monday. He was 18 years old and we had him for 16 years. He was a black cat with part Siamese in him. Therefore the first movement "Siamese" is written in his memory. It is an upbeat, swing movement and captures the joy "Siegfried" brought us. The other movements will be "Angora" which will be slow, moody and bluesy followed by "Tom" which will be in a rock style and be aggressive.
"Siamese" has a number of motives that are used in a flexible form. The challenge in writing a piece for a single monophonic instrument is that the elements such as harmony, counterpoint, and timbre variation are not readily available. One can hint at these, but the composer has to find most of the variety in the other elements. The movement begins with diatonic swing eighth notes which is the first motivic idea. In the second measure, the triplet motive is introduced, which adds rhythmic variety. These ideas interplay and change tonality slightly. In order break up the constant sound, I wanted a figure that used some rests. M. 7 introduces this motive and is used again, like in M. 10 & 11 for variety. The next motivic idea (M. 15 & 16) is a more chromatic version of the swing 8th notes, therefore adding a modality variation. The last new idea also takes advantage of silence (M 22). These ideas interchange freely as the movement moves towards the climax towards the middle at M. 39 and then again towards a climax at the end.
To see and hear what I have composed thus far, go to http://www.cooppress.net/hepcatsblog.html
The score is transposed.
Dr. B
I began to work on my next commission while in Iowa and finished the 1st movement today. This piece is for William Kelly, who is doing a CD of unaccompanied clarinet music. He wanted a piece for Eb clarinet, although this piece can be done on any clarinet. He also wanted a jazz influenced piece, therefore the title "Hep Cats". The title has double meaning, cats meaning jazz musicians, and also the feline species. I am a cat lover, so several of my pieces have cat titles and descriptions. I am sad to say that the latest member of our cat family "Siegfried" went to cat heaven on Monday. He was 18 years old and we had him for 16 years. He was a black cat with part Siamese in him. Therefore the first movement "Siamese" is written in his memory. It is an upbeat, swing movement and captures the joy "Siegfried" brought us. The other movements will be "Angora" which will be slow, moody and bluesy followed by "Tom" which will be in a rock style and be aggressive.
"Siamese" has a number of motives that are used in a flexible form. The challenge in writing a piece for a single monophonic instrument is that the elements such as harmony, counterpoint, and timbre variation are not readily available. One can hint at these, but the composer has to find most of the variety in the other elements. The movement begins with diatonic swing eighth notes which is the first motivic idea. In the second measure, the triplet motive is introduced, which adds rhythmic variety. These ideas interplay and change tonality slightly. In order break up the constant sound, I wanted a figure that used some rests. M. 7 introduces this motive and is used again, like in M. 10 & 11 for variety. The next motivic idea (M. 15 & 16) is a more chromatic version of the swing 8th notes, therefore adding a modality variation. The last new idea also takes advantage of silence (M 22). These ideas interchange freely as the movement moves towards the climax towards the middle at M. 39 and then again towards a climax at the end.
To see and hear what I have composed thus far, go to http://www.cooppress.net/hepcatsblog.html
The score is transposed.
Dr. B
Monday, April 21, 2008
Goulash 3rd movement finished
Last week I finished Goulash, but decided to wait a bit before posting as I wanted to be sure I was finished. Because of my hectic schedule, my composing has been sporadic and it was hard to feel a sense of continuity in the piece. After reviewing the piece, I feel that I did create the continuity I was looking for.
M. 122-136 creates a transition back the more rhythmic portion of the slow section. It begins with a restatement of the main fast idea and then begins to develop it a bit before fragmenting some of the ideas. M. 165 winds down the slow section material and M. 171 suddenly brings the listener back to the fast section. M. 192 is a slight variation of this material that appeared earlier. M. 210 to the end is a fiery coda that extends the marimba idea at M. 198 for some technical fireworks.
During this movement, I found myself using the ends of phrases to start my new phrase. This is a way of unifying ideas and also creating variety. An example would be how the saxophone line that ends at M. 9 begins the phrase at M. 16 and then develops into its own melody. T.S. Eliot said "in my end is my beginning". That certainly applies in many places throughout this movement.
I am now working on preparing the parts for this piece and getting them off to the performers for their comments.
To see and hear what I have composed thus far, go to http://www.cooppress.net/goulashblog.html
The score is transposed.
Dr. B
M. 122-136 creates a transition back the more rhythmic portion of the slow section. It begins with a restatement of the main fast idea and then begins to develop it a bit before fragmenting some of the ideas. M. 165 winds down the slow section material and M. 171 suddenly brings the listener back to the fast section. M. 192 is a slight variation of this material that appeared earlier. M. 210 to the end is a fiery coda that extends the marimba idea at M. 198 for some technical fireworks.
During this movement, I found myself using the ends of phrases to start my new phrase. This is a way of unifying ideas and also creating variety. An example would be how the saxophone line that ends at M. 9 begins the phrase at M. 16 and then develops into its own melody. T.S. Eliot said "in my end is my beginning". That certainly applies in many places throughout this movement.
I am now working on preparing the parts for this piece and getting them off to the performers for their comments.
To see and hear what I have composed thus far, go to http://www.cooppress.net/goulashblog.html
The score is transposed.
Dr. B
Monday, April 14, 2008
Goulash 3rd movement
In my last post, I discussed my getting started with the third movement of Goulash. This movement has been challenging to compose, partly because of all the interruptions I have been experiencing with my composing schedule and partly because I do not have a clear vision of the movement. I do have general idea of what I want to do. The opening slow section is now complete. At M. 25, I introduced a contrasting section that is imitative. At M. 32-42, I return to the material I used at M. 14-24 but the saxophone line is now more elaborate. A transition in the marimba at 43-64 brings the listener back to the opening material that gradually accelerates into the fast section at M. 61. The return to this opening section rounds out the slow opening nicely as it is free and exotic sounding before the stricter tempo of the fast section.
M. 61 begins the fast section with an angular, yet harmonically suggestive marimba pattern of eighth notes. The saxophone introduces the first melodic idea at M. 63. It has a dotted rhythm figure, some syncopation and some scale-wise flourishes. The last part of the idea uses imitation between the saxophone and marimba. At. M 71-83, the roles of the two instruments reverse and the last part of the idea is extended. M. 84 ushers in a variant of the idea with descending then ascending arpeggios in the marimba and scalar passages in the saxophone. Imitation once again completes the phrase. At M. 92-104, the roles reverse once again and the end of the idea receives an extension. M. 104 is another variant of the initial idea that incorporates both the eighth note arpeggios and the scalar 16th notes. The texture is all marimba at this point. At 113, the texture is now saxophone primarily with a few punctuations with the marimba.
Once again, the ideas seem to be working but I don't know where it will take me next. The challenge I am finding in writing for 2 instruments is to create variety of texture. I accomplish that by alternating lead in the two instruments, changing from harmophony to polyphony, and using one instrument only for phrases. Since I can't vary the texture like I could in an orchestral piece, I need to strive for variety in other ways, yet still maintain unity in the piece. This might suggest a return to the slow section briefly before the final virtuostic fast section. We will see if this happens as the movement progresses.
To see and hear what I have composed thus far, go to http://www.cooppress.net/goulashblog.html
The score is transposed.
Dr. B
M. 61 begins the fast section with an angular, yet harmonically suggestive marimba pattern of eighth notes. The saxophone introduces the first melodic idea at M. 63. It has a dotted rhythm figure, some syncopation and some scale-wise flourishes. The last part of the idea uses imitation between the saxophone and marimba. At. M 71-83, the roles of the two instruments reverse and the last part of the idea is extended. M. 84 ushers in a variant of the idea with descending then ascending arpeggios in the marimba and scalar passages in the saxophone. Imitation once again completes the phrase. At M. 92-104, the roles reverse once again and the end of the idea receives an extension. M. 104 is another variant of the initial idea that incorporates both the eighth note arpeggios and the scalar 16th notes. The texture is all marimba at this point. At 113, the texture is now saxophone primarily with a few punctuations with the marimba.
Once again, the ideas seem to be working but I don't know where it will take me next. The challenge I am finding in writing for 2 instruments is to create variety of texture. I accomplish that by alternating lead in the two instruments, changing from harmophony to polyphony, and using one instrument only for phrases. Since I can't vary the texture like I could in an orchestral piece, I need to strive for variety in other ways, yet still maintain unity in the piece. This might suggest a return to the slow section briefly before the final virtuostic fast section. We will see if this happens as the movement progresses.
To see and hear what I have composed thus far, go to http://www.cooppress.net/goulashblog.html
The score is transposed.
Dr. B
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