Upon recieveing the assignment (write 3 short pieces for piano) I thought I would get a head start and compose as much as I could before the first presentaiton day. I ended up with two ideas, both a page each which will serve as a skeleton to two pieces.
The first is based upon a 5/8 pattern in which is repeated several times while a second voice plays over it creating thick texture. This can be further developed by rhythmic manipulation.
The second is basically a set of arrpegios based on a lydian scale that eventually modulates. I am especially pleased with this sketch.
Thursday, January 14, 2010
Thursday, December 10, 2009
Final Considerations
I thought the concert went extremely well .Everyone's compositions really were brought to life. Since i preformed my own piece, I was able to not only write the notes but actually interpret it for the audience. I think there is a special connection to a composer and his music. While preforming your own work you are essentially giving others a glimpse into yourself.
All the performances were well polished especially considering how little time we had to get everything finalized and have the scores in the performers hands for rehearsals.
One of the harder things about this course was scheduling rehearsals. You have to consider everyones' schedule and I ended up approaching several people who i had never spoken too, asking them to play my music in concert.
All the performances were well polished especially considering how little time we had to get everything finalized and have the scores in the performers hands for rehearsals.
One of the harder things about this course was scheduling rehearsals. You have to consider everyones' schedule and I ended up approaching several people who i had never spoken too, asking them to play my music in concert.
Details
I have learned many things about composing while taking this course. One of the most important would be musical detail. This really is just as important as the composition itself. Like learning anything new, the more you practice the more natural it becomes. I think that over the two projects that we were assigned I have made progress in learning about the art of preparing a score. There could honestly be a course just about this.
Since my second piece included a guitar, I had to include string markings and fingerings. Although I have played studied and played through many guitar scores, it really was eye opening how much care one must take when considering fingerings and positions.
Since my second piece included a guitar, I had to include string markings and fingerings. Although I have played studied and played through many guitar scores, it really was eye opening how much care one must take when considering fingerings and positions.
Thursday, November 26, 2009
Concert Review
On Saturday, Nov 14, I attended a concert by the St. Lawrence String Quartet.
Program
Haydn (1732-1809)
- String Quartet in D, op. 20 No. 4 (Hob.III:34)
Allegro di molto
Un Poco adagio e affettuoso
Menuetto: Allegro alla Zingarese
Finale: Presto e scherzando
Derek Charke (b. 1974)
-Sepia Fragments
Dvorak (1841-1904)
-Quartet in G, Op. 106
Allegro moderato
Adagio ma non troppo
Molto vivace
Finale: Andante sostenuto - Allegro con fuoco
This was honestly one of the best concerts I have ever attended. It was evident from the first note of the Haydn quartet that the ensemble was full of energy. The music was brought to life with virtuosic ease that never stepped over the boundary of the composition. As far as chamber music goes, this was some of the tightest ensemble playing that I have ever witnessed.
The real highlight of the program was the second composition. Sepia Fragments. This is a newly commissioned work by Derek Charke. He describes the work as "a musical journey from the present to the past". The piece was organized into four distinct sections. Starting with an original fiddle tune, the piece slowly evolves through the quotation of other works. Derek pays tribute to the quartets past by quoting pieces that they have recorded and preformed in the past. - After the introduction, the first quotation is from Schumann's String Quartet No. 3 in A. We then get a quote from the third movement of Shostakovich's eighth String Quartet. This is followed by a waltz like texture that hints at the first movement of Tchaikovsky's String Quartet in D. The texture is slowly built up until it finally fades. The piece is brought to conclusion with a slow ambient ending that hints at "remembrances from the near and distant past".
After the intermission, the Dvorak was played with great energy. This was a great way to end the program as it contrasted the opening Haydn quartet very nicely.
Program
Haydn (1732-1809)
- String Quartet in D, op. 20 No. 4 (Hob.III:34)
Allegro di molto
Un Poco adagio e affettuoso
Menuetto: Allegro alla Zingarese
Finale: Presto e scherzando
Derek Charke (b. 1974)
-Sepia Fragments
Dvorak (1841-1904)
-Quartet in G, Op. 106
Allegro moderato
Adagio ma non troppo
Molto vivace
Finale: Andante sostenuto - Allegro con fuoco
This was honestly one of the best concerts I have ever attended. It was evident from the first note of the Haydn quartet that the ensemble was full of energy. The music was brought to life with virtuosic ease that never stepped over the boundary of the composition. As far as chamber music goes, this was some of the tightest ensemble playing that I have ever witnessed.
The real highlight of the program was the second composition. Sepia Fragments. This is a newly commissioned work by Derek Charke. He describes the work as "a musical journey from the present to the past". The piece was organized into four distinct sections. Starting with an original fiddle tune, the piece slowly evolves through the quotation of other works. Derek pays tribute to the quartets past by quoting pieces that they have recorded and preformed in the past. - After the introduction, the first quotation is from Schumann's String Quartet No. 3 in A. We then get a quote from the third movement of Shostakovich's eighth String Quartet. This is followed by a waltz like texture that hints at the first movement of Tchaikovsky's String Quartet in D. The texture is slowly built up until it finally fades. The piece is brought to conclusion with a slow ambient ending that hints at "remembrances from the near and distant past".
After the intermission, the Dvorak was played with great energy. This was a great way to end the program as it contrasted the opening Haydn quartet very nicely.
Tuesday, November 24, 2009
2nd Presentation
Yesterday I presented my finished composition in class. It went well. Some general comments I recieved
- Perhaps introduce Guitar in the "intro". It seems to come out of nowhere in measure no. 10
- In measure 37, the texture is thinned out considerably. I then re introduce a thicker texture right at the end of the piece. I can see how this would seem redundant, but am going ot wait ot actually hear it in rehersal before changing it.
- The last chord does not seem like the final point of the piece. Perhaps tweak this to make it sound more final.
- Perhaps introduce Guitar in the "intro". It seems to come out of nowhere in measure no. 10
- In measure 37, the texture is thinned out considerably. I then re introduce a thicker texture right at the end of the piece. I can see how this would seem redundant, but am going ot wait ot actually hear it in rehersal before changing it.
- The last chord does not seem like the final point of the piece. Perhaps tweak this to make it sound more final.
Sunday, November 22, 2009
Considerations
I have finished my piece. Any changes made from now until the concert will only be small. I am quite happy with the outcome. Originally this piece was written for marimba but I decided it sounded better on vibraphone.
I ended up writing three different pages of ideas that I based the final product on.
I first wrote a 4 and a half measure arpeggio line for guitar that repeats several time throughout the piece. This ended up serving as the central accompaniment for the voice. The vibe part was added after. This section is contrasted with a slower 9/8 section that is constant until the very last few measures.
Since I am a guitarist preforming mostly solo works, I found it quite challenging to write a part that fit into an accompanying texture while leaving enough space for the other parts. The voice had to stand out above everything else so making the guitar take a back seat was something I defiantly struggled with during this project.
I ended up writing three different pages of ideas that I based the final product on.
I first wrote a 4 and a half measure arpeggio line for guitar that repeats several time throughout the piece. This ended up serving as the central accompaniment for the voice. The vibe part was added after. This section is contrasted with a slower 9/8 section that is constant until the very last few measures.
Since I am a guitarist preforming mostly solo works, I found it quite challenging to write a part that fit into an accompanying texture while leaving enough space for the other parts. The voice had to stand out above everything else so making the guitar take a back seat was something I defiantly struggled with during this project.
Sunday, November 15, 2009
Second Piece
For my second composition I chose to set a text. The instrumentation will be
- Soprano
- Guitar
- Marimba
The text I will be using is a Shakespeare sonnet. #100
Where art thou, Muse, that thou forgett'st so long
To speak of that which gives thee all thy might?
Spend'st thou thy fury on some worthless song,
Dark'ning thy power to lend base subjects light?
Return, forgetful Muse, and straight redeem
In gentle, numbers time so idly spent;
Sing to the ear that doth lays esteem,
And gives thy pen both skill and argument.
Ride, resty Muse, my love's sweet face survey,
If Time have any wrinkle graven there;
If any, be a satire to decay,
And make Time's spoils despised everywhere.
Give my love fame faster then Time wastes life;
So thou prevent'st his scythe and crooked knife.
- Soprano
- Guitar
- Marimba
The text I will be using is a Shakespeare sonnet. #100
Where art thou, Muse, that thou forgett'st so long
To speak of that which gives thee all thy might?
Spend'st thou thy fury on some worthless song,
Dark'ning thy power to lend base subjects light?
Return, forgetful Muse, and straight redeem
In gentle, numbers time so idly spent;
Sing to the ear that doth lays esteem,
And gives thy pen both skill and argument.
Ride, resty Muse, my love's sweet face survey,
If Time have any wrinkle graven there;
If any, be a satire to decay,
And make Time's spoils despised everywhere.
Give my love fame faster then Time wastes life;
So thou prevent'st his scythe and crooked knife.
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