Now that I an about halfway through with the orchestration of Night Sky I have begun to think about what I am going to compose next. I have a couple of projects lined up, though none have any firm performance dates yet. I have talked with a high school band director Lee Morrison about composing a piece for his ensemble. Lee and I have know each other since out days at Bowling Green State University. While I am uncertain about starting another large ensemble piece right away I do have some ideas for this piece. The first is the title: Time and Memoriam. This is one of the few times in which the title has come to me before starting the piece.
As inferred by the title the piece will take on a reflective and possibly introspective mood. Another initial idea I have is to incorporate the Dies Irae into the music. I am thinking that this chant music will be one of the primary focuses of the piece. I will try to reshape it and create new melodies from the pitch material to blend in creativity and originality.
Another project I have in mind is my second collaboration with photographer Micheal Vickers. This time our idea is to do a "reverse" collaboration. In our first collaboration I composed a woodwind quintet inspired by five different photographs of Micheal's. This time he is going to take a series of photographs inspired by my music.
I am still try to decide the ensemble for which I will compose the music. I am considering revising Birches for cello and bass. If I were to do a revision of this piece I would ned to expand the instrumentation. One thought is to add alto flute and bass clarinet. This would allow for a variety of timbres between the instruments. I am also considering adding only piano to the cello and bass. The piano could be a good choice as it is able to create a wash of sound through the use of the pedal and can assist in percussive attacks. Both of these are elements that I believe this piece needs.
As I have said, I am not sure which project to take on next. I have been kicking around other ideas as well, but I wold need to contact the performers I have in mind prior to giving those projects too much thought.
Wednesday, June 30, 2010
Tuesday, June 29, 2010
Listening Journal: June 21-27, 2010
György Ligeti - Organ Study No. 1 "Harmonies" (1967)
George Crumb - Otherworldly Resonances (2002) for two amplified pianos
Karlheinz Stockhausen - Kontra-Punkte (1953) for two instrumentalists
Pascal Dusapin - Quatour III (1993) for string quartet
György Kurtag - Splinters, op. 6c (1973) for cimbalom
Serge Arcuri - Piano Quintet "Le Tumulte Des Flots" (2009)
Jorg Widmann - String Quartet No. 3 "Jagdquartet" (2003)
Samuel Barber - Symphony No. 1 (1936)
Iannis Xenakis - Tetora (1990) for string quartet
George Crumb - Otherworldly Resonances (2002) for two amplified pianos
Karlheinz Stockhausen - Kontra-Punkte (1953) for two instrumentalists
Pascal Dusapin - Quatour III (1993) for string quartet
György Kurtag - Splinters, op. 6c (1973) for cimbalom
Serge Arcuri - Piano Quintet "Le Tumulte Des Flots" (2009)
Jorg Widmann - String Quartet No. 3 "Jagdquartet" (2003)
Samuel Barber - Symphony No. 1 (1936)
Iannis Xenakis - Tetora (1990) for string quartet
Clarifying the "mysterious" section
Beginning at measure nine of Night Sky these is a section labeled "mysterious." In this section I am trying to infuse my personal compositional voice into the context of the music. One style in which I like to compose is reminiscent of Bela Bartok's "night music." Color and timbre are the two primary elements in this style. For this section my intent is to juxtapose long tone in the upper voices with short fragments in the other voices.
Another goal in this section is to feature the percussion section a bit more. I want the percussion to be more that just decoration, accenting the melodies played by the wind instruments. I feel that all too often in band music percussion becomes an afterthought or just another layer of the melodies. I want to bring the percussion forward in this section. This way if the percussion parts are missing then there would be a hole in the music.
As I orchestrated the mysterious section I became concerned with the way it was coming together. I noticed some problems that I am certain Adam would have pointed out had I not revised this section before sending him a copy of the score. The first issue was the long tones in the upper woodwinds. Each note lasted four measures and continued on with other notes for sixteen total measures. If this piece were for orchestra, then the long tones could have worked in the strings. However, for a band in this age group, the fatigue factor and lung capacity prohibits such a relentless passage. My solution was to have the long tones fade out after two measures with rests the following two measures.
The other primary issue I had was the harmonic language. I tried to add some dissonant elements to the piece. The long tones were more like note clusters than chords. This did not work for me. I ended up changing some of the notes in the long tones to create diatonic chords. I did this so that the harmonic language does not unnecessarily stray away from the key area.
I am still finding parts in this section that I am still tweaking. A couple of examples are rhythmic content and metric placement. Sometimes I feel as if the melodic ideas do not start on the right beat or measure. This is all apart of the editing process. I am liking the changes I have made to this section. All have helped to strengthen the piece.
Another goal in this section is to feature the percussion section a bit more. I want the percussion to be more that just decoration, accenting the melodies played by the wind instruments. I feel that all too often in band music percussion becomes an afterthought or just another layer of the melodies. I want to bring the percussion forward in this section. This way if the percussion parts are missing then there would be a hole in the music.
As I orchestrated the mysterious section I became concerned with the way it was coming together. I noticed some problems that I am certain Adam would have pointed out had I not revised this section before sending him a copy of the score. The first issue was the long tones in the upper woodwinds. Each note lasted four measures and continued on with other notes for sixteen total measures. If this piece were for orchestra, then the long tones could have worked in the strings. However, for a band in this age group, the fatigue factor and lung capacity prohibits such a relentless passage. My solution was to have the long tones fade out after two measures with rests the following two measures.
The other primary issue I had was the harmonic language. I tried to add some dissonant elements to the piece. The long tones were more like note clusters than chords. This did not work for me. I ended up changing some of the notes in the long tones to create diatonic chords. I did this so that the harmonic language does not unnecessarily stray away from the key area.
I am still finding parts in this section that I am still tweaking. A couple of examples are rhythmic content and metric placement. Sometimes I feel as if the melodic ideas do not start on the right beat or measure. This is all apart of the editing process. I am liking the changes I have made to this section. All have helped to strengthen the piece.
Monday, June 28, 2010
Increasing playability
Another of Adam's comments about Night Sky was in regards to the ostinato starting at measure 33. The instruments that play the ostinato do not get a break for at least twenty four measures. (see example #1) This is something that I forgot to consider. I am accustomed to writing for college or professional performers and they know how to handle these types of situations. I need to consider the fatigue factor. Kids who are in that age group do not have the training or in some instances the lung capacity to play for long durations.
There are two parts to this ostinato. The tenor line which consists of primarily quarter notes. Te bass line which either plays a pedal tone or an ascending half note line, depending on the measure. I took a look at the instruments that play the ostinato and I made a list of those instruments. I then redistributed those instruments into four groups.
Group 1: Bassoon, Tenor Sax and Baritone
Group 2: Bass Clarinet, Bari Sax and Tuba
Group 3: Alto Sax and Horn
Group 4: Trombone 1 and 2
I broke to ostinato into four measure sections. Then I charted out which groups will play what part and section of the ostinato at what time. Each group plays every other section with the exception of groups 1 and 2. Groups 1 and 2 play the first eight measures of the ostinato as all groups play the first four measures. (see example #2)
Example #1 - in the original key: E minor
There are two parts to this ostinato. The tenor line which consists of primarily quarter notes. Te bass line which either plays a pedal tone or an ascending half note line, depending on the measure. I took a look at the instruments that play the ostinato and I made a list of those instruments. I then redistributed those instruments into four groups.
Group 1: Bassoon, Tenor Sax and Baritone
Group 2: Bass Clarinet, Bari Sax and Tuba
Group 3: Alto Sax and Horn
Group 4: Trombone 1 and 2
I broke to ostinato into four measure sections. Then I charted out which groups will play what part and section of the ostinato at what time. Each group plays every other section with the exception of groups 1 and 2. Groups 1 and 2 play the first eight measures of the ostinato as all groups play the first four measures. (see example #2)
Example #2 - in the new key: C minor
I like the effect this change will have. I think the integrity of the ostinato remains. I have smoothed out the transition between the sections as each group plays four measures plus one beat. This change will also allow for variety and contrast which is needed in this section. The different groupings will create color and textural changes which will make this section more interesting to listen to. It does not hurt that the score looks more interesting as well.
Sunday, June 27, 2010
Key change
One of the things I have had to consider after receiving Adam's comments is whether or not I want to transpose my piece to a different key. Apparently G major and E minor are considered "advanced" key signatures. These are not typically seen until the high school band level. Rarely are they seen in middle school band literature.
First of all I had to decide if I wanted to change keys. This was an easy choice. One of my goals is for this piece to have a life beyond the premiere. The primary way in which I can do that is to compose a piece that is marketable. This means that I will need to do things that are considered common. I need to think about creating a piece that other bands can play. While it is nice to consider the strengths and weaknesses of the group for whom you are writing, it is better to look beyond the ensemble. By choosing to do this I do not think at all that I am compromising my artistic integrity. Adam did comment that I should feel free to maintain the original key area, if that I what I truly wanted as it could provide a good teaching tool for him. However, I think that this change will be for the better and it will give the piece a chance for future opportunities.
Now I had to decide to which I was going to transpose Night Sky. This was not an easy task. Transposing music to a different key is not as easy as selecting a new key and rewriting the music. Different keys have different sound qualities and different affects to them. I had to find the closest match in sound quality and affectation, to my ear, for E minor and G major. I played some of the primary passages in the typical flat key signatures: F major, B-flat major, D minor, etc. I found that E-flat major and C minor work the best for the music I have written.
While it would have been preferable to not to have changed keys, I must admit that I do like the new key areas for Night Sky. Fortunately I feel as if I have not sacrificed anything in making the key change.
First of all I had to decide if I wanted to change keys. This was an easy choice. One of my goals is for this piece to have a life beyond the premiere. The primary way in which I can do that is to compose a piece that is marketable. This means that I will need to do things that are considered common. I need to think about creating a piece that other bands can play. While it is nice to consider the strengths and weaknesses of the group for whom you are writing, it is better to look beyond the ensemble. By choosing to do this I do not think at all that I am compromising my artistic integrity. Adam did comment that I should feel free to maintain the original key area, if that I what I truly wanted as it could provide a good teaching tool for him. However, I think that this change will be for the better and it will give the piece a chance for future opportunities.
Now I had to decide to which I was going to transpose Night Sky. This was not an easy task. Transposing music to a different key is not as easy as selecting a new key and rewriting the music. Different keys have different sound qualities and different affects to them. I had to find the closest match in sound quality and affectation, to my ear, for E minor and G major. I played some of the primary passages in the typical flat key signatures: F major, B-flat major, D minor, etc. I found that E-flat major and C minor work the best for the music I have written.
While it would have been preferable to not to have changed keys, I must admit that I do like the new key areas for Night Sky. Fortunately I feel as if I have not sacrificed anything in making the key change.
Friday, June 25, 2010
Some feedback on Night Sky
The other day I received an email from Adam Noel. I had sent him a draft of the score for Night Sky. I wanted him to see how the piece is progressing and to get some feedback about the piece. He gave me a lot of great feedback. There were a few things he pointed out that I just did not know and there are some things that fall into the oops column. The one thing about his feedback that I truly appreciated was that his comments were not just from the perspective of his band, but from the publishing stand point. This is important to me as I am thinking about the life of this piece after the premiere with Adam's group.
The main thing I did not realize was that E minor and G major are considered "advanced" key signatures. Typically middle school bands play in flat key signatures like F major, B-flat major, etc. This means that I will need to rethink the key of this piece. If I really wanted to I could leave it in e minor. It is not as if it would be impossible to play. It would provide a different set of challenges that may not necessarily be good for the ensemble.
Adam gave me some other great comments about watching for and avoiding extended passages. As this level the kids are not accustomed to playing for long periods of time. He also gave me suggestions about range for some instruments.
All-in-all Adam's comments make me excited to work on Night Sky some more.
The main thing I did not realize was that E minor and G major are considered "advanced" key signatures. Typically middle school bands play in flat key signatures like F major, B-flat major, etc. This means that I will need to rethink the key of this piece. If I really wanted to I could leave it in e minor. It is not as if it would be impossible to play. It would provide a different set of challenges that may not necessarily be good for the ensemble.
Adam gave me some other great comments about watching for and avoiding extended passages. As this level the kids are not accustomed to playing for long periods of time. He also gave me suggestions about range for some instruments.
All-in-all Adam's comments make me excited to work on Night Sky some more.
Tuesday, June 22, 2010
One of my first influences
Lately there has been a thread of comments about a picture a friend of mine posted on Facebook. It is a picture of a mug that has a depiction of the theme of our marching band show from my junior year in high school. This thread has really got me thinking about my high school band director John Frantz. He is one of my first and my most important musical influence. Mr. Frantz would always be encouraging to the students. He genuinely wanted the students to succeed. He is a large part of the reason why I decided to pursue a degree in music. Mr. Frantz was a good musician in addition to being a great teacher. Not only did this give validity to the comments and instructions he gave us, but we were able to see the results of hard work and practicing.
I remember that he is the person who turned me on to the music of Chicago. The first album I borrowed from him and listened to was Chicago Live at Carnegie Hall, a four record set. At the time I was blown away by the idea of a rock band with horns. Because of him, my love of music snowballed. I actively searched out different thing to listen to in order to expand my knowledge of music. Here I am now sixteen years removed from high school and I still try to find new and exciting things to listen to.
Much of who I am as a musician and as a person stems from Mr. Frantz's influence.
I remember that he is the person who turned me on to the music of Chicago. The first album I borrowed from him and listened to was Chicago Live at Carnegie Hall, a four record set. At the time I was blown away by the idea of a rock band with horns. Because of him, my love of music snowballed. I actively searched out different thing to listen to in order to expand my knowledge of music. Here I am now sixteen years removed from high school and I still try to find new and exciting things to listen to.
Much of who I am as a musician and as a person stems from Mr. Frantz's influence.
Listening Journal: May 31-June 6, 2010
Kaija Saariaho - Sept Papillons (2000) for cello
Witold Lutoslawski - Symphonic Variations (1938) for orchestra
Kaija Saariaho - 2009 Live Radio Broadcasts - CD
Laterna Magica (2008) for orchestra
New Gates (1996) for flute, harp and viola
Terrestre (2002) for flute, percussion, harp, violin and cello
Serenatas (2008) for piano, cello and percussion
Tag des Jahres (2006) for choir and electronics
Witold Lutoslawski - Symphonic Variations (1938) for orchestra
Kaija Saariaho - 2009 Live Radio Broadcasts - CD
Laterna Magica (2008) for orchestra
New Gates (1996) for flute, harp and viola
Terrestre (2002) for flute, percussion, harp, violin and cello
Serenatas (2008) for piano, cello and percussion
Tag des Jahres (2006) for choir and electronics
Monday, June 21, 2010
Falling into a common trap
As I have been orchestrating Night Sky I realized that I have been falling into a common trap. There are sections of the piece in which I have been adding percussion almost as an afterthought. Of course I intend to have the percussion play in these sections; however what plays and when is not planned out. This is a common pitfall with composers. It is much easier to conceptualize the brass section or how the alto saxophones will blend with the french horns than it is to realize how non-pitched percussion will complement the rest of the band.
This mindset is easy to fall into. Often percussion is something that gets pushed further down the to-do list. How a composer uses percussion is as important as how a composer uses the clarinet section. I have heard pieces where the percussion is clearly an afterthought. The writing seems forced, as if the composer forgot to use these instruments throughout. Fortunately, I do not believe that my music has turned out this way. There are many sections especially in the last third of the piece that is composed around specific percussion elements.
Another issue I have had when composing out the percussion parts is remembering what instrument goes with what part. This is an easy problem to remedy. I need to take a few minutes and create a percussion chart that I can reference as I compose. In the end the chart is needed for the instrumentation list, so it is something that I will need to do anyways. I just need to take a moment and write it up.
This mindset is easy to fall into. Often percussion is something that gets pushed further down the to-do list. How a composer uses percussion is as important as how a composer uses the clarinet section. I have heard pieces where the percussion is clearly an afterthought. The writing seems forced, as if the composer forgot to use these instruments throughout. Fortunately, I do not believe that my music has turned out this way. There are many sections especially in the last third of the piece that is composed around specific percussion elements.
Another issue I have had when composing out the percussion parts is remembering what instrument goes with what part. This is an easy problem to remedy. I need to take a few minutes and create a percussion chart that I can reference as I compose. In the end the chart is needed for the instrumentation list, so it is something that I will need to do anyways. I just need to take a moment and write it up.
Sunday, June 13, 2010
New Opera Premiere
Trifles a new opera by San Francisco Bay Area Composer is set to premiere on Thursday, June 17 and Saturday, June 19, 2010 at 8:00 p.m. at the Live Oak Theatre in Berkeley, CA. The performances are a part of the Fresh Voices X Festival of New Works. For more information visit the opera's website: www.triflesopera.com
Tuesday, June 8, 2010
Orchestration and editing
I have noticed as I am orchestrating Night Sky that I have been making some substantial edits as well. Not only have I been rewriting some melodies and themes to better fit the harmonies, but I have been moving some melodies. Some moves are minor, a couple of beats or a measure or two so that the phrasing makes sense. Other moves have been drastic. For example, there was a four measure phrase that I moved about twelve to sixteen measures later.
For me, entering a score into Finale is another step in the editing process. I always look for things to fix, layers to add or even measures to cut. I guess that by working the orchestration into Finale I am going through my usual processes. So far all of the edits are for the better. However, I do find that I can get caught up trying to fix something that may not necessarily need to be fixed. There is one melody that was only three measures and I spent over an hour over the course of a couple of days trying to expand the melody into four measures. I finally found something I like, but I remember thinking, "is it really necessary to expand this melody?" I do not want to get myself too caught up in the editing process. It may take away from the orchestration.
For me, entering a score into Finale is another step in the editing process. I always look for things to fix, layers to add or even measures to cut. I guess that by working the orchestration into Finale I am going through my usual processes. So far all of the edits are for the better. However, I do find that I can get caught up trying to fix something that may not necessarily need to be fixed. There is one melody that was only three measures and I spent over an hour over the course of a couple of days trying to expand the melody into four measures. I finally found something I like, but I remember thinking, "is it really necessary to expand this melody?" I do not want to get myself too caught up in the editing process. It may take away from the orchestration.
Thursday, June 3, 2010
The power of 3
My sketch score for Night Sky is predominantly an outline of the major themes, harmonies, rhythmic groupings and some counterpoint. As I orchestrate the piece I find that I need to expand on my outline. Aside from the usual octave (orchestral) doublings I need to add some inner voices. I have been looking back at my previous wind ensemble piece Homage. I found that I used quite a bit of parallel motion in thirds. Not all of the motion is in thirds. Some deviation is necessary to keep within the harmonic world.
I applied this technique to the theme that is heard over the ostinato beginning at measure 37. Immediately I noticed a fuller sound when listening to the MIDI playback. It is almost as if another dimension is added to the sound.
Of course I do not consider these remarks and ideas revolutionary. They are techniques I have known and previously used. I have composed primarily chamber music over the past few years. So I do feel like I am rediscovering useful techniques.
I applied this technique to the theme that is heard over the ostinato beginning at measure 37. Immediately I noticed a fuller sound when listening to the MIDI playback. It is almost as if another dimension is added to the sound.
Of course I do not consider these remarks and ideas revolutionary. They are techniques I have known and previously used. I have composed primarily chamber music over the past few years. So I do feel like I am rediscovering useful techniques.
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