This afternoon I sketched out ideas for what is approximately the next minute's worth of music. Right now it is not a continuous sketch. Rather I have sketches of individual melodic ideas that I will be using. Most of the sketches are numbered so that it is just a matter of assembling the ideas. My focus in this session was to continue to develop the previous material. I have also begun to derive a melody from the ostinato bass line.
Tomorrow, the goal is to assemble the ideas to create a continuous sketch and then push forward trying to complete the A section.
Saturday, March 13, 2010
Weekend Challenge
I have decided to challenge myself this weekend. The challenge is to sketch out the rest of the A section for the pieces for Adam Noel's ensemble. My target duration for this section is three to three and a half minutes. Currently I have sketched out about one minute of music so I am one-third of the way there.
I hope to post some sketches here this weekend as I make progress on the A section.
I hope to post some sketches here this weekend as I make progress on the A section.
Tuesday, March 9, 2010
Listening Journal: March 1-7, 2010
Gyorgy Ligeti - Lux Aeterna (1966) for choir
Silvestre Revueltas - Planos (1976) for orchestra
Igor Stravinsky - Three Pieces (1914) for string quartet
Carlos Chavez - Tambuco (1964) for six percussionists
Franz Joseph Haydn - Symphony No. 97 in C major (1792) Cleveland Orchestra, George Szell
Franz Joseph Haydn - Symphony No. 98 in B-flat major (1792) Cleveland Orchestra, George Szell
Silvestre Revueltas - Planos (1976) for orchestra
Igor Stravinsky - Three Pieces (1914) for string quartet
Carlos Chavez - Tambuco (1964) for six percussionists
Franz Joseph Haydn - Symphony No. 97 in C major (1792) Cleveland Orchestra, George Szell
Franz Joseph Haydn - Symphony No. 98 in B-flat major (1792) Cleveland Orchestra, George Szell
Composing Session: March 6, 2010
On Saturday I sat down and began composing the piece for Adam Noel's group. I have decided to open with a simple eight-note, eight-beat ostinato. I plan on adding layers to the ostinato creating some variation and development. So far I have sketched out the first sixteen measures. In this sketch I have started to introduce the thematic material upon which I will base the piece.
Right now my overall formal plan is a simple ternary form: A B A. The A sections will be played at a moderate tempo with a contrasting B section in a faster tempo. I do need to consider the level of the ensemble for which I am composing. I do not anticipate complex rhythmic structures in the B section. This formal plan is similar to my first piece for wind ensemble Homage where I used a ternary form and the motivic material was derived from a melodic bass ostinato.
My working title for this piece is Night Sky. I do not really have a reason for this and I am unsure if I will stick with this title. I am still thinking about it, but somehow it seems right.
Right now my overall formal plan is a simple ternary form: A B A. The A sections will be played at a moderate tempo with a contrasting B section in a faster tempo. I do need to consider the level of the ensemble for which I am composing. I do not anticipate complex rhythmic structures in the B section. This formal plan is similar to my first piece for wind ensemble Homage where I used a ternary form and the motivic material was derived from a melodic bass ostinato.
My working title for this piece is Night Sky. I do not really have a reason for this and I am unsure if I will stick with this title. I am still thinking about it, but somehow it seems right.
Saturday, March 6, 2010
A Truly Inspirational Story
I just finished reading The Soloist by Steve Lopez. I realize I am behind the times, but it was on my "to read" list for a long time. I was completely blown away by this book. It is, by far, the best book I have read in the last year, if not longer.
This book describes the unlikely, but somehow destined friendship between Los Angeles Times columnist Steve Lopez and a homeless, mentally-ill, but massively talented musician Nathaniel Ayers. In a way this book has reminded me why it is that I compose. If I can make a positive impact on one person's life then it is all worth it.
This is one of those rare stories that makes you wonder why someone did not create this story before. Some of the events and the reality of the situation would make for great fiction. I am not saying that this story is fiction. I know it is a true story. I am only saying that this story would make for great fiction. It is amazing to see this journey unfold. Mr. Lopez set out to positively impact Mr. Ayers's life. Little did Mr. Lopez know that Mr. Ayers would have a profound impact on his life.
As I was reading this book I could not help, but get emotionally involved. I found myself rooting for Mr. Ayers to move indoors and take steps to getting better. I also felt similar disappointment and anguish that I am sure Mr. Lopez felt when Mr. Ayers continued to show reluctance to further help. I also remember sharing in the joy when Mr. Ayers finally moved indoors.
It was quite amazing to read about the outpouring of generosity people have afforded Mr. Ayers. Some donated instruments and some donated time. It is truly heart warming to know that people still care for their fellow man.
Since finishing the book I have checked out the website for the foundation set up in Mr. Ayers's name. The organization works for the benefit of the artistically gifted mentally ill. The website is www.naayers.org and I recommend that you check it out and see how you can help. I have added a link to the organization on the left and will soon add one at New Music Forum. I was excited to read that in the near future Mr. Ayers will be releasing a CD titled Putting on Ayers. I am looking forward to purchasing a copy. I am intrigued by Mr. Ayers's talent and would love to listen to it. Also, on this website you will find links to the columns by Mr. Lopez about Mr. Ayers, a link to the 60 Minutes segment and other great and useful information.
Not only is this a story about Mr. Ayers, but it also shows the harsh realities of the homeless problem in Los Angeles. At times it highlights how we tend to cast them aside along with the mentally ill. My hope is that there will be a change for the better in this situation. This is truly an inspirational story and I am thankful that Mr. Lopez has brought this story to life. Mr. Ayers is a talent that deserves the spotlight.
This book describes the unlikely, but somehow destined friendship between Los Angeles Times columnist Steve Lopez and a homeless, mentally-ill, but massively talented musician Nathaniel Ayers. In a way this book has reminded me why it is that I compose. If I can make a positive impact on one person's life then it is all worth it.
This is one of those rare stories that makes you wonder why someone did not create this story before. Some of the events and the reality of the situation would make for great fiction. I am not saying that this story is fiction. I know it is a true story. I am only saying that this story would make for great fiction. It is amazing to see this journey unfold. Mr. Lopez set out to positively impact Mr. Ayers's life. Little did Mr. Lopez know that Mr. Ayers would have a profound impact on his life.
As I was reading this book I could not help, but get emotionally involved. I found myself rooting for Mr. Ayers to move indoors and take steps to getting better. I also felt similar disappointment and anguish that I am sure Mr. Lopez felt when Mr. Ayers continued to show reluctance to further help. I also remember sharing in the joy when Mr. Ayers finally moved indoors.
It was quite amazing to read about the outpouring of generosity people have afforded Mr. Ayers. Some donated instruments and some donated time. It is truly heart warming to know that people still care for their fellow man.
Since finishing the book I have checked out the website for the foundation set up in Mr. Ayers's name. The organization works for the benefit of the artistically gifted mentally ill. The website is www.naayers.org and I recommend that you check it out and see how you can help. I have added a link to the organization on the left and will soon add one at New Music Forum. I was excited to read that in the near future Mr. Ayers will be releasing a CD titled Putting on Ayers. I am looking forward to purchasing a copy. I am intrigued by Mr. Ayers's talent and would love to listen to it. Also, on this website you will find links to the columns by Mr. Lopez about Mr. Ayers, a link to the 60 Minutes segment and other great and useful information.
Not only is this a story about Mr. Ayers, but it also shows the harsh realities of the homeless problem in Los Angeles. At times it highlights how we tend to cast them aside along with the mentally ill. My hope is that there will be a change for the better in this situation. This is truly an inspirational story and I am thankful that Mr. Lopez has brought this story to life. Mr. Ayers is a talent that deserves the spotlight.
Tuesday, March 2, 2010
Listening Journal: February 22-28, 2010
Pascal Dusapin - Clam (1998) for orchestra
Franz Joseph Haydn - Symphony No. 96 in D major "The Miracle" (1791) Cleveland Orchestra, George Szell
Alan Hovhaness - Mysterious Mountain, op. 132 (1955) for orchestra
Pascal Dusapin - Exeo (2002) for orchestra
Edgard Varèse - Hyperprism (1923) for wind and percussion
George Crumb - Makrokosmos Volume 2, Part 3 (1973) for piano
Franz Joseph Haydn - Symphony No. 96 in D major "The Miracle" (1791) Cleveland Orchestra, George Szell
Alan Hovhaness - Mysterious Mountain, op. 132 (1955) for orchestra
Pascal Dusapin - Exeo (2002) for orchestra
Edgard Varèse - Hyperprism (1923) for wind and percussion
George Crumb - Makrokosmos Volume 2, Part 3 (1973) for piano
Monday, March 1, 2010
Choosing a Direction
Normally beginning a new composition is an exciting time for me. After choosing the ensemble I am faced with a myriad of possibilities for style, sound world, texture, duration, form, etc. This time, however, I am faced with a little trepidation. The ensemble for which I will be composing this piece is a middle school band. Now I have no problem with this ensemble. It is just that the techniques I can employ become limited. It is through no fault of their own. Most of the students have only been playing their instruments for a couple of years.
Another aspect of this piece that causes some intimidation is that I am friends with the director of the band. I tend to put a little more pressure on myself in this type of situation. I am sure it will not cause me problems. It is just something I think about. After all, I want to make sure that I start off with strong material.
As I was working on Études Scéniques there was a phrase in the fifth piece Shaded Path that seemed very familiar to me. At the time I used it because it lends itself well to that étude. I have decided that I am going to use and develop this phrase in the band piece. To me this phrase is not an opening phrase, but it will likely be the phrase with which I begin my sketch.
I still cannot place the familiarity of this line. I am unsure if it is my own music or someone else's. Maybe I will figure it out in time, or maybe it is not important. Either way this is the material with which I shall start working.
Another aspect of this piece that causes some intimidation is that I am friends with the director of the band. I tend to put a little more pressure on myself in this type of situation. I am sure it will not cause me problems. It is just something I think about. After all, I want to make sure that I start off with strong material.
As I was working on Études Scéniques there was a phrase in the fifth piece Shaded Path that seemed very familiar to me. At the time I used it because it lends itself well to that étude. I have decided that I am going to use and develop this phrase in the band piece. To me this phrase is not an opening phrase, but it will likely be the phrase with which I begin my sketch.
I still cannot place the familiarity of this line. I am unsure if it is my own music or someone else's. Maybe I will figure it out in time, or maybe it is not important. Either way this is the material with which I shall start working.
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