This is the third movement of a composition for euphonium and piano at a college level. It is being composed
through a commissioning consortium where each participant pays a small
fee that is refundable and receives score and parts, local
premiere rights and an inclusion in the dedication. For more information
about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html
The
composition for euphonium piano is a series of intermezzi in a third
stream style. Third Stream is a combination of classical and jazz
elements. The third intermezzo is in a Lento tempo and while it is metered with a quarter note pulse, the music feels unmetered. This fits with the free, moody nature of the movement that wanders in tonality as well. The form is loosely ABABCA but it is obscured by motives each section appearing in other sections and by the euphonium and piano exchanging melodic material. The accompaniment is also sparse and coloristic utilizing the full range of the piano.
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 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/Intermezzi_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, October 31, 2014
Monday, October 13, 2014
Bachburg Concerto No. 5 Movement 2
This is the second movement of a concerto
for two tubas and piano that is commissioned by Thomas Lukowicz of
Wright State University. Tom is planning a CD of Bach duets and wanted a
modern composition that would fit with the music of Bach. Since Bach
composed 6 Brandenburg Concerti, I thought that Brandon should compose 6
Bachburg Concerti. This is number 5 in the series. It is influenced by
the music of Bach mainly in its reliance on counterpoint.
Since writing the first movement, I had heard from Tom with some suggestions. Both suggestions had to do with the tubas sounding muddy. In measures 36-38, I brought the first tuba up an octave to gain the needed clarity. In measure 46, I changed the 2nd tuba note to a G from and Eb. This avoided the first inversion of the triad that tends to be muddy because of the abundance of overtones in the tuba tone color. There is enough of the Eb in the piano accompaniment so that no harmony is lost. Thank you Tom for those suggestions.
The second movement is at a Lento tempo. Lyricism and lush harmonies were my goal in this movement and counterpoint, while still presented, is secondary. The form is quite simple ABAB Coda. It begins with the two tubas alone for eight measures. Then this idea is repeated with piano accompaniment. The piano introduces the material for the B section that consists of descending thirds and dotted rhythms. The tubas enter for the second part of this section. Once again the ideas repeat but this time with the piano up an octave for timbral variety.
The A section only comes back once in the repeat. It is varied by a slower tempo and the tubas are alone for only 4 measures before the accompaniment enters. The B sections returns in a similar manner to when it was first heard. A brief coda that elongates the last motive leads to the two tubas finishing the movement alone.
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 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/Bachburg5_blog.html.
As always, your comments are appreciated.
Dr. B
Since writing the first movement, I had heard from Tom with some suggestions. Both suggestions had to do with the tubas sounding muddy. In measures 36-38, I brought the first tuba up an octave to gain the needed clarity. In measure 46, I changed the 2nd tuba note to a G from and Eb. This avoided the first inversion of the triad that tends to be muddy because of the abundance of overtones in the tuba tone color. There is enough of the Eb in the piano accompaniment so that no harmony is lost. Thank you Tom for those suggestions.
The second movement is at a Lento tempo. Lyricism and lush harmonies were my goal in this movement and counterpoint, while still presented, is secondary. The form is quite simple ABAB Coda. It begins with the two tubas alone for eight measures. Then this idea is repeated with piano accompaniment. The piano introduces the material for the B section that consists of descending thirds and dotted rhythms. The tubas enter for the second part of this section. Once again the ideas repeat but this time with the piano up an octave for timbral variety.
The A section only comes back once in the repeat. It is varied by a slower tempo and the tubas are alone for only 4 measures before the accompaniment enters. The B sections returns in a similar manner to when it was first heard. A brief coda that elongates the last motive leads to the two tubas finishing the movement alone.
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 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/Bachburg5_blog.html.
As always, your comments are appreciated.
Dr. B
Tuesday, September 30, 2014
Intermezzi for Euphonium and Piano Movement 2
This is the second movement of a composition for euphonium and piano at a college level. It is being composed
through a commissioning consortium where each participant pays a small
fee that is refundable and receives score and parts, local
premiere rights and an inclusion in the dedication. For more information
about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html
The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. The second intermezzo uses a light swing feel in a 7/4 meter. The harmony uses frequent 7th and 9th chords and counterpoint is also often used. Other jazz elements incorporated at times are a walking bass line and blue notes. The form is ABA.
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 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/Intermezzi_blog.html.
As always, your comments are appreciated.
Dr. B
The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. The second intermezzo uses a light swing feel in a 7/4 meter. The harmony uses frequent 7th and 9th chords and counterpoint is also often used. Other jazz elements incorporated at times are a walking bass line and blue notes. The form is ABA.
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 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/Intermezzi_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, September 26, 2014
Bachburg Concerto No. 5 Movement 1
As I stated in my previous post, I am working on two compositions simultaneously. This is the first movement of the second one, a concerto for two tubas and piano that is commissioned by Thomas Lukowicz of Wright State University. Tom is planning a CD of Bach duets and wanted a modern composition that would fit with the music of Bach. Since Bach composed 6 Brandenburg Concerti, I thought that Brandon should compose 6 Bachburg Concerti. This is number 5 in the series. It is influenced by the music of Bach mainly in its reliance on counterpoint.
I use the key signature of C minor because a lot of the music is in C natural minor or Aeolian mode or its dominant G minor. But key signatures or keys rarely mean much to me as I let the music freely wander to wherever it wants to go. For example, within the first five measures of this movement, the tonalities go from C minor to F minor to G minor back to F minor and then back to C minor at measure 6. A few chromatics are thrown in for good measure as well. Hence there is much tonal interest even though it is fairly traditional in terms of tonality.
After the piano introduction, the tubas enter at measure six with some imitation and independent lines. In order to keep the clarity of the lines, the piano accompaniment is kept simple. I did a previous version of this section where the piano was also playing counterpoint and discarded it because the lines became very muddy. The piano has some brief interludes that create a tutti/concertino effect.
Measure 28 introduces a contrasting thinner and more lyrical section. This is like a second theme in a sonata form. Measure 48 begins what sounds like a development section. Measure 67 returns the listener to the second part of the first theme before a recapitulation takes place at measure 72. The second part of the first theme is now omitted in the recapitulation. The second theme returns in a different tonality at measure 93. Measure 113 begins the final push towards the end and serves almost like a 2nd development section. The modulation at measure 122 adds to the push. There are meter changes subtly added throughout that breaks the continuity of the 4/4 meter.
II 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 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/Bachburg5_blog.html.
As always, your comments are appreciated.
Dr. B
I use the key signature of C minor because a lot of the music is in C natural minor or Aeolian mode or its dominant G minor. But key signatures or keys rarely mean much to me as I let the music freely wander to wherever it wants to go. For example, within the first five measures of this movement, the tonalities go from C minor to F minor to G minor back to F minor and then back to C minor at measure 6. A few chromatics are thrown in for good measure as well. Hence there is much tonal interest even though it is fairly traditional in terms of tonality.
After the piano introduction, the tubas enter at measure six with some imitation and independent lines. In order to keep the clarity of the lines, the piano accompaniment is kept simple. I did a previous version of this section where the piano was also playing counterpoint and discarded it because the lines became very muddy. The piano has some brief interludes that create a tutti/concertino effect.
Measure 28 introduces a contrasting thinner and more lyrical section. This is like a second theme in a sonata form. Measure 48 begins what sounds like a development section. Measure 67 returns the listener to the second part of the first theme before a recapitulation takes place at measure 72. The second part of the first theme is now omitted in the recapitulation. The second theme returns in a different tonality at measure 93. Measure 113 begins the final push towards the end and serves almost like a 2nd development section. The modulation at measure 122 adds to the push. There are meter changes subtly added throughout that breaks the continuity of the 4/4 meter.
II 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 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/Bachburg5_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, September 19, 2014
Intermezzi for Euphonium and Piano Movement 1
This is the first movement of a composition for euphonium and piano at a college level. It is being composed
through a commissioning consortium where each participant pays a small
fee that is refundable and receives score and parts, local
premiere rights and an inclusion in the dedication. For more information
about the consortium, please visit http://www.cooppress.net/page9/page385/index.htmlhttp://www.cooppress.net/page9/page385/index.html
I am doing something that I can't recall ever doing before while composing this piece. I am working on two compositions simultaneously. In addition to this composition, I am working on a concerto for two tubas and piano. The two pieces are in a very different style and because of this, I don't anticipate having a problem. I plan to complete a movement of one piece and then do a movement of the other piece and will be blogging about them as they get completed.
The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. This first intermezzi used lush jazz harmony like major 7th chords and 9th chords and also wonders around chromatically. The euphonium line is very lyrical and sounds improvisitory, almost like a jazz ballad. The form is ABA with B being a cadenza for euphonium. The second A has some slight variation from the first.
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 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/Intermezzi_blog.html.
As always, your comments are appreciated.
Dr. B
I am doing something that I can't recall ever doing before while composing this piece. I am working on two compositions simultaneously. In addition to this composition, I am working on a concerto for two tubas and piano. The two pieces are in a very different style and because of this, I don't anticipate having a problem. I plan to complete a movement of one piece and then do a movement of the other piece and will be blogging about them as they get completed.
The composition for euphonium piano is a series of intermezzi in a third stream style. Third Stream is a combination of classical and jazz elements. This first intermezzi used lush jazz harmony like major 7th chords and 9th chords and also wonders around chromatically. The euphonium line is very lyrical and sounds improvisitory, almost like a jazz ballad. The form is ABA with B being a cadenza for euphonium. The second A has some slight variation from the first.
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 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/Intermezzi_blog.html.
As always, your comments are appreciated.
Dr. B
Monday, September 8, 2014
Movie Music - Movement 3
This is the third movement and final of a 3-part flexible
instrumentation composition at a high school level. It is being composed
through a commissioning consortium where each participant pays a small
fee that is partially refundable and receives score and parts, local
premiere rights and an inclusion in the dedication. For more information
about the consortium, please visit http://www.cooppress.net/page9/page395/index.html
The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.
I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.
Most movies have some sort of chase scene so it was logical for me to include music for one in my composition. The Presto tempo, staccato notes and accented notes all create a sense of fast action. I began with a single instrument representing the person being chased. Gradually more instruments enter representing the pursuers. This effect is repeated several times throughout the composition indicating that the person being chased has temporarily outfoxed his pursuers. The music from measures 9-17 occurs several times representing the pursuers closing in on the target. The section that begins at measure 36 provides a contrast as the melody itself in legato. One could think of this section representing a straight-away where there is less danger, however, the underlying staccato accompaniment indicates that the subject is still being pursued. Measures 50 to 56 grows in intensity as the subject is coming close to being captured, however he eludes his pursuers once more. The opening sections repeat as the chase goes on. At measure 92-97, the pursuers are closing in and in the last two measures a dissonant chord is used to represent either a crash or the capture.
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 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/Movie_Music_blog.html.
As always, your comments are appreciated.
Dr. B
The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.
I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.
Most movies have some sort of chase scene so it was logical for me to include music for one in my composition. The Presto tempo, staccato notes and accented notes all create a sense of fast action. I began with a single instrument representing the person being chased. Gradually more instruments enter representing the pursuers. This effect is repeated several times throughout the composition indicating that the person being chased has temporarily outfoxed his pursuers. The music from measures 9-17 occurs several times representing the pursuers closing in on the target. The section that begins at measure 36 provides a contrast as the melody itself in legato. One could think of this section representing a straight-away where there is less danger, however, the underlying staccato accompaniment indicates that the subject is still being pursued. Measures 50 to 56 grows in intensity as the subject is coming close to being captured, however he eludes his pursuers once more. The opening sections repeat as the chase goes on. At measure 92-97, the pursuers are closing in and in the last two measures a dissonant chord is used to represent either a crash or the capture.
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 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/Movie_Music_blog.html.
As always, your comments are appreciated.
Dr. B
Friday, August 29, 2014
Movie Music - Movement 2
This is the second movement of a 3-part flexible
instrumentation composition at a high school level. It is being composed
through a commissioning consortium where each participant pays a small
fee that is partially refundable and receives score and parts, local
premiere rights and an inclusion in the dedication. For more information
about the consortium, please visit http://www.cooppress.net/page9/page395/index.html
The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.
I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.
The second movement is called Love Music. I guess because I am a tuba player who rarely gets an interesting part in orchestra, I am sensitive to giving each part something of interest. Because of this, my music emphasizes counterpoint and that can make in more challenging for younger musicians to perform because it requires independent counting. At the same time, it teaches musicians to become more secure in their own counting and to listen to other parts to see how their part fits into the whole. These are necessary skills for any musician to develop.
This movement is no exception to my style that emphasizes independence. The use of 6/8 and 9/8 meters are not as familiar as 4/4 and 3/4 but should be in the grasp of high school musicians. My rhythm patterns within these meters have slight variants of the usual rhythmic patterns by incorporating dotted notes, rests on the strong beats, and faster notes on strong beats, all of which creates rhythmic interest.
The form of the movement is ABACBA. The B section is the most intense with rich harmonies. slightly faster tempo, and louder dynamics. The A sections are slightly more melancholy as love has its ups and downs. The C section is the most chromatic, perhaps suggesting doubt in the relationship. However this conflict is resolved at the end when the piece ends on a pure major triad.
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 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/Movie_Music_blog.html.
As always, your comments are appreciated.
Dr. B
The composition is being created so that there would be a Part A, B, and C and each part would be available for C, Bb, Eb, F, bass clef, and alto clef instruments so that the piece would be playable by a wide variety of trios from standard to unusual. There are three movements planned: Theme Music, Love Song, and Chase Scene.
I am creating the piece using a three trumpet instrumentation. My reasoning is that I wanted three instruments with a narrow range and endurance challenges. I figure if the composition works for this combination, it would work in any combination. Just to test this out, I created a flute, clarinet and alto saxophone version from the trumpet version and it transferred well just by putting the flute up an octave.
The second movement is called Love Music. I guess because I am a tuba player who rarely gets an interesting part in orchestra, I am sensitive to giving each part something of interest. Because of this, my music emphasizes counterpoint and that can make in more challenging for younger musicians to perform because it requires independent counting. At the same time, it teaches musicians to become more secure in their own counting and to listen to other parts to see how their part fits into the whole. These are necessary skills for any musician to develop.
This movement is no exception to my style that emphasizes independence. The use of 6/8 and 9/8 meters are not as familiar as 4/4 and 3/4 but should be in the grasp of high school musicians. My rhythm patterns within these meters have slight variants of the usual rhythmic patterns by incorporating dotted notes, rests on the strong beats, and faster notes on strong beats, all of which creates rhythmic interest.
The form of the movement is ABACBA. The B section is the most intense with rich harmonies. slightly faster tempo, and louder dynamics. The A sections are slightly more melancholy as love has its ups and downs. The C section is the most chromatic, perhaps suggesting doubt in the relationship. However this conflict is resolved at the end when the piece ends on a pure major triad.
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 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/Movie_Music_blog.html.
As always, your comments are appreciated.
Dr. B
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