Throwback Thursday September 2021 Recap

September 2nd 2021

This Week’s #throwbackthursday piece is related to the event I’ve been excited about that is happening this weekend: MNKINO Film Score Fest!(BTW- It’s this Saturday at 8 In Mears Park, St Paul MN if you can come).A few years ago, in 2017, I wandered to an event that I had heard about on a podcast called Composer Quest called the MnKino Film Score Fest Meetup. It was at an underground bar in the middle of Minneapolis- or was it St Paul? As is tradition for me with trying new things, I had no idea what I was getting into. Also, meeting new people in groups still terrified the bejeebus out of me, but there I went. At the time, I was starving for creative opportunities outside of my mundane day job and, although it scared me, I reasoned that the best way to make this happen was to step out of that comfort zone and talk to strangers. Somewhere in the large crowd a, talented yet also introverted and kind animator named Beth Peloff talked to me and decided that I was going to be her composer (YAY!).Together, we created a little film called Blob’s Adventure. You can watch it here:https://vimeo.com/218081763

September 9th 2021

Do You remember looking up at the sky on a carefree summer day, imagining the pictures and scenes in the clouds? Today’s #ThrowbackThursday piece was written on such a summer afternoon. When I used to work at a printer factory, I’d come home and need to decompress. Being that the job left little time for much else between driving home, eating dinner, and sleeping to wake up early and do it all over again, there was a 30-minute window that I’d have to myself. I chose to walk from my Dad’s trailer home to the end of the road and back most evenings after scarfing down my meal. That day in 2010, I admired those picturesque clouds in the sky and imagined what it could sound like. At the time I was listening to a lot of Debussy piano music as well. Cumulus Humilis- The scientific name for the type of clouds that I saw that day- is the name of this piece. It was premiered by Jimmy Knezetik- a pianist I knew in undergrad who has the most sensitive touch of any pianist I’ve known. Listeners enjoyed it because it is easy on the ears and my theory teachers loved it because it uses something called Locrian Mode. (Note- I did not do this on purpose. It was a happy coincidence). A few years after composing the piece, Avguste Antonov recorded the piece and did a wonderful job. It is included on his debut album, An American Journey.https://www.sheetmusicplus.com/…/cumulus…/21854853…#pianomusic#newmusic#solomusic

September 16th 2021

In 2009, around this time, I started my undergrad degree at Youngstown State in Ohio. At the time, I had just met my – unbeknownst to me- future husband. He took me to one of Youngstown’s greatest hidden treasures, Mill Creek Park, as part of a tour of the area. We walked around on this adventure for a while when a rather large tree branch suddenly snapped, and almost beamed us in the head on the way down from the fall. Me being me, blamed it on the trickster Faeries that obviously got a laugh at almost killing this intruder, .and yelled something unintelligible back at them. Darko laughed, I laughed, and this whole near-death experience is now immortalized in a Trombone and Euphonium duet. Today’s #ThrowbackThursday piece is dedicated to these Wood Nymphs who happened to give me the inspiration to finish the duet I was writing for fellow composer Dan Brandt and I, just in time to not get scolded by our studio professor. #Brass#BrassDuet#Trombone#Euphonium#WomanComposer#NewMusichttps://www.sheetmusicplus.com/…/meliae…/21816732…

September 23rd 2021

Who Likes Thunderstorms???…‚Ķ.. Actually, not me. In fact, I sometimes find them terrifying! This week, we had a fairly loud one that kept me up quite late. The loud sound of the thunder hurts my ears and seeing a Lightning strike victim in the ER when I was little because my mom used to work nights and sometimes had to take us with to her job, may have contributed to this uncomfortableness. Thank goodness though. MN needed the rain. That brings me to this week’s #ThrowbackThursday piece.https://www.sheetmusicplus.com/…/reign-of…/21833455…Reign of Thunder is a flute solo and one of my first pieces that premiered at YSU. However, it was written it in the summer before starting my studies Shanyse Strickland , a Fantastic Musician known for her Horn playing and Composing these days, was the Flute Player! Cory Davis did a wonderful job accompanying on piano and I took his suggestion to double the octave in the left hand, thus improving the piece. #Flute#Flutesolo#piano#womancomposer#newmusic

ZFestival- a July 2021Adventure!

This past month I participated in the first Composition Festival I have in a long time- ZFestival.

I first heard about ZFestival from a fellow Twin Cities Based Composer, Johnathan Posthuma. When I first applied to participate, as per usual fashion for me, I HAD LITERALLY NO IDEA WHAT I WAS GETTING MYSELF INTO! That was on purpose. ūüôā

So what is this festival you ask? ZFestival is an online month long festival where they pair you with artists, composers and musicians from all over the world ( but mostly North America) and tell you to go create something.

They also have workshops and talks with guest artists and It’s all online. That’s right. I didn’t even have to leave my house or wear pants to participate in this event. ( I mean, I did wear pants except for that one time I wore a skirt. It’s just that it wasn’t required.)

Also, unbelievably, it’s FREE to participate.

They had 3 tracks this year for composers to participate in. The one I was chosen for was a multidisciplinary track.

The group consisted of Clarissa Littler, Timothy Leimu Sillman Walters, Tyler Katz, and Myself. So, a group of composers, multi instrumentalists, an amatur watercolor artist , and a computer programmer (Their instrument was listed as Math) who may or may not have doubled on these skills with prior knowledge that that was what they were going to do.

To create the project, we decided to trade pieces and record and engineer them from our own homes. A lot of Trial and Error on my end was had.

The final Gala Took place on July 31st and August 1st 2021. It was amazing to see what all of these groups came up with and celebrate their creativity. Our Project, which resembles a Prog Rock Space Opera with improvised live visual programming , was on August 1st and is the second one on the program.

As a BONUS and for your viewing pleasure, please watch the product of the 48 Hour Challenge I did with Tim, along with the rest of the projects. The prompt was…interesting to say the least. XD

You can learn more about ZFestival by visiting zfestival.org

Extra-musical Effects: What are they and how can we use them?

Recently, my friend and fellow composer Sakari invited me to guest teach her class “YouTH Can Compose.”

For the focus on the class, we talked about Extra-musical effects and discussed how they can make their way into our compositions.

So, what are extra musical effects? The Definition that we came up with together was “Anything that isn’t the music itself that can influence our compositional decisions.”.

Some examples might be:

Elements from nature like wind or the sound of flowing water

People

Memories

Sound effects- like those in Cartoons

Places

Colors

And even in some cases music.

In the class I had them listen to Of Wizards and Dragons and we listed and discussed extra musical influences in the piece. Wind- which one student mentioned before we started listening- found its way into the enchanted forest section and was illustrated by windchimes for example.

Another Student mentioned that thinking about their family when they write helps them create. That is another Extra Musical influence for sure!

Tying into this insightful comment, I talked about how Bernard, who used to teach African Drumming as a way to bring people together and was a great human being, was added into the piece when Fredonia wanted to premier it. I added a Djembe part that was not there before to honor him.

We also watch and listened to Blob’s Adventure, a film that I scored and I talked a bit about the process of receiving the film with no sound and having to draw on extra musical influences to score it.

The Students observed some of my tricks of “Mickey Mousing” – for example using dissonance on brass instruments to sound like car horns, and using the bass drum and melody direction to imitate what was happening onscreen. I also showed them the part with the bicycle and explained how the Queen Song Bicycle influenced my decision to use a rock drum beat and repeated scales.

We discovered how we can use timbre and various instruments and their abilities as a tool to illustrate what we envision sonically.

For their project, I read a short story (I Wish I Were A Butterfly) and they each picked a character to write a theme around.

Their pieces illustrated the way insects flew by having the melody hover or flutter, or echoed ( in the case of the Frog and the Cricket echoing his ugly thoughts). The colors of laughter or mud were illustrated cleverly through timbre as well. Some drew on the illustrations themselves to create their pieces.

Overall, this was a great experience sharing this technique with these aspiring composers and I hope reading this helped spark some new ideas for you.

So, fellow composers, what are some extra musical effects that you can think of and how have they found their way into your music?

A Well Traveled Rhapsody

Mr. Slocum was a wonderful human being. He was the one professor who, no matter who you were, would cheer you on and always have encouraging things to say after brass juries. It did not matter if you were in his horn studio or not. He always seemed to care about the students. Mr. (Bill) Slocum always took time out to talk with anyone who would listen to his recollections of his remarkable past, and he had a plethora of stories to tell from his experiences! It was through these recollections that I learned of his past performing summers at Tanglewood (under Leonard Bernstein!), his time with the Cleveland Orchestra, and his connection with my Hometown Orchestra of Buffalo NY, the Buffalo Philharmonic, having performed in this organization as well as several others. Sometimes these stories would trail into the next hour when you were trying to leave for class. You’d try to say good bye but somehow could not, as his stories always left you hanging on for more.

He also took time out to help me in a way that I’m not sure the other professors knew how. Although he was not my composition professor, he would give me helpful advice as to which pieces to study, and what I should try next. He also took me aside after a class once and did what most do not do: told me to my face how much potential I had, the good things he had heard around the building, and how he recognized my work ethic. (Sadly Mr. Slocum, I could not afford to go to the festivals that you advised me to go, but I promise to keep my promise to you to keep composing). Somehow, he knew that I needed that confidence boost.(Thank you!)

When he passed away in April of 2015 , I was heartbroken. I can only imagine the grief his students and family must’ve felt upon hearing this news.

At the time, shortly after graduating, I had reluctantly moved to MN to live at my Dad and stepmom’s home, and was broke, car-less and jobless. That day (April 15th), after taking the bus to the next town over to job search for the afternoon, I had some time to burn while waiting for a ride back, so I stopped at a Perkins for some coffee. It was there that I received the news.

Shortly after that bombshell, a theme in 6/8, distinctly played on a horn appeared inside my head. It was a theme fit for a hero! Thankfully I was prepared with some scrap staff paper to scratch it down, and fatefully place my coffee, leaving a ring- or “seal of approval” over the new melody.* This melody would remain untouched for about four years.

*This is also the origin story of how I came up with the coffee seal of approval and why I call my self publishing business Coffee Seal Music, summed up in one sentence!

This past Summer, Bill Richter, who I hadn’t heard from in almost 3 years, contacted me asking if he could commission me to write something for his Master’s recital. This came as a surprise, as the last time I had heard from him, he’d left YSU and transferred schools and as far as I was aware, was studying something completely different. At the (no doubt incessant- he had an almost magical way of making his thoughts and intentions known ) urging of Mr Slocum, Bill had returned to school to study the horn! In a stranger twist of fate- call it serendipity if you will- Bill had requested that I put the ending to Mahler 1 in the piece as this was the last piece that Mr. Slocum had coached the YSU Horn studio on, and, this melody that had been sitting there since Mr. Slocum’s passing fit PERFECTLY alongside Mahler’s melody.

A Well Traveled Rhapsody starts with the hero’s theme, where it morphs into several references to many famous horn lines and solos, of which I am told Mr. Slocum enjoyed on his time on earth. Some of these you may catch are a reference to Holst’s Jupiter (as he exuded Jollity), Mozart’s Jupiter (the piece he advised me to study as it has everything I’d ever need), variations of the opening to Strauss’s Horn concerto and Wagner’s Siegfried Call and , of course, Mahler 1.

The middle section, while not a direct quote, alludes to the melodic horn writing of Jerry Goldsmith as heard in the Star Trek the Motion Picture Soundtrack. As the piece seems to wrap up in the last third, I tried to emulate the feeling of listening to his stories and trying to leave his office, but truthfully wanting to hear more as he’d trail on with his wonderfully interesting recollections. Finally, the hero’s theme rises up gracefully in the piano, octave by octave just as his spirit, as far as I can tell, may have risen towards the heavens upon his departure from this mortal realm. It ends on a plagal cadence because, well, of course it does!

Mr. Slocum with his Students at the YSU Horn Studio Pumpkin Party circa 2008

Bill Richter will Be premiering A Well Traveled Rhapsody at his recital on April 19th , 1 PM at Indiana University of Pennsylvania. This piece is written in the memory of William (Bill) Slocum and his gregarious, giving, uplifting, musical spirit.

Edit: The Premiere is on Sunday, April 25th, 11 am Central Time ( Noon Eastern Time).

The Link to watch it is https://www.youtube.com/watch?v=QHi8I9kBjeY

2011 Mr Slocum and his last horn studio class before retiring.

2019 Goals- How did I do?

Big Goal: Continue to increase income

Mini Goal: Set up the rest of my online store:

Did I succeed: Ha Ha. Nope. This is still a work in progress. But, I did manage to find a friend who is helping me set this part up-FINALLY!

Mini Goal: Sell more music

Did I accomplish it: Yes- I sold one score and even got my first concert music commission (Thanks Bill!). That’s one more than last year. Woo hoo!!

2020 is going to be the year where I aim to sell at least 5 scores- but hopefully more. Actually setting up my online store will probably help this goal come to fruition ūüėõ

Mini Goal: Increase my teaching studio size

Did I succeed: Yes! I am now teaching at Maestoso Music studio and have a total of 2 trombone students and 3 piano students. I am also, teaching a couple of ukulele students as well. That’s up from just 2 last year!

Big Goal: Get out there even  more than in 2018

Mini Goal: Jam More

Did I succeed: Yes!…sort of. I managed to get together and play 4 times this year with friends.

Mini Goal: Go to more music gatherings and concerts- that are not my own.

Did I succeed: Yes, but barely. This summer kicked my butt when the swing band went a little uh, gig happy, a relative passed away, and life once again happened. Summer was when I had hoped to go to something every weekend as summer tends to be more relaxed schedule wise yet filled with a plethora of free concerts to listen to. This did not happen as planned, but I averaged about 1.5 every other month, which is way better than it could have been.

Mini Goal: Get better at this Marketing thing.

Did I succeed: I’m going to have to say no. Other life things took priority this year. Next year though, this is going to move more toward the top of the priority list. I do like to eat food ya know! (also, getting paid to perform and write is nice too.)

BIG Goal: Get healthier

Did I succeed: Yes- but mostly during the spring and summer. I sort of fell off the wagon once it started getting colder as far as exercise is concerned. Excuses- excuses, I know. But, I do eat a lot more veggies than I did last year. Now to see if I can drop the sweets a little. My miserly tradition toward buying new jeans before they have irreparable holes in them depends on it! (also, cavities are expensive and painful as I’ve come to find out.)

Big Goal: Write More:

Did I succeed: Yes- please see my final thoughts.

Also, as the urge to write seems to happen most often at night when I *should* be sleeping, I am no longer going to fight this- even if I do have to get up an hour earlier now with this self-imposed schedule. Bring on the Insomnia!

Final Thoughts:

I did manage to accomplish a few things this year that were not goals. For starters, this has been the most productive year composing since graduating from YSU in December 2014. This was not only in terms of volume but in variety as well. New pieces were written for a church brass gig, trombone choir, the VGM challenge and a brand new film score. I was able to put on a successful concert of newly composed and arranged works with my friends from Coffoa Brass in October. Also, thanks to my wonderful mentor, I am now beginning to explore the world of electronic composition. All it took was someone patient enough to show this technology illiterate, broke, and frustrated person how to steer the ship.Overall, 2019 was a step in the right direction.

~Tomorrows post will consist of 2020’s goals, but please feel free to comment with your accomplishments this past year. I would love to hear about them!~

Thanks for reading!!!!

#21 Days of VGM Days 4-6

Hello Friends and Fellow Music Fans,

Here are the next Three Pieces from this challenge for your enjoyment. Please feel free to comment if the inspiration strikes you.

Composed 7/4/2019
Today, I started with an uncommon interval to start with- a Major 7th. This is what became of it.
Composed 7/5/2019
I reached Level 2! Woo Hoo!
This was the Name game. I took my full name, only took the letters that were in the musical alphabet, and created a bass line Motive that the piece builds around. While composing I thought in layers, before putting this into the computer. There are several types of bells used for the accompaniment and Crystal Glass for the melody. It could probably be used around a shrine, oracle dwelling, or religious site in a game.
Composed 7/6/2019
I wrote a very short, loopable blues tune.
It is 7 bars long because I like messing with form sometimes.






Here’s My ” I Didn’t Cheat” Proof! ūüėÄ

How to Plan a Compositon recital….and avoid the stress that can come along with it

As just about  any music major can attest to, planning a  recital is a lot of work. As a Composition Major at YSU, I have had the required opportunity to plan two of them (so far) in my academic career. Recitals in general will always require some type of assessment usually known as a jury/ hearing, that must be played in front of a committee as  a preview of the recital before permission is granted to go ahead and plan the main event. The experience can be nerve racking for any musician. However, the Composition recital is unique in that, not only does the student composer have to make sure that the scores are pristine when  presenting them to the jury committee; They must rely on others to play their music at an acceptable level and coordinate the musicians by themselves. In short, when in this position, you not only compose the music but you become a  concert manager, secretary, and presenter and advocate for your own music. Depending on the nature of the pieces, you as the composer may also become a performer of your own work as well.

Step 1: Start Early

What I mean by this is do not procrastinate when planning. As I’ve stated before it is a lot more work than it may seem at first. Get the deadline dates of latest possible jury and recital dates and the number of days that you have to submit program info between the end of the hearing and recital and WRITE THEM DOWN IN A CENTRAL LOCATION that you can refer to. Don’t forget to get names of people that you may need to submit this information to as well. I advise getting a binder to keep all materials such as jury paperwork that may need to be signed at the hearing by the jury, dates, and eventual schedules. If you can, get this information¬†the semester before your anticipated recital date.

Step 2: Read all paperwork for requirements and begin selecting potential pieces

Keep in mind how long the program needs to be and how long each piece you have in mind is.

Step 3: Begin selecting players

I advise to write down all instruments that will be required in each piece in a list format. For example:
Bastet’s Lullaby:

1Harp

1Piano/ Tambourine (I put these together  as one person who could play both)

1Voice

Then begin by listing potential ¬†musician friends that would work together well on your piece.If you can, try to keep it limited to as few actual personnel as possible. (in this last experience, I had the situation where, due to musicians’ busy schedules and realizing that it would be unfair to ask any one person to learn more than two of my pieces along with their other degree requirements, there were 23 people involved in my senior recital and it was a nightmare to plan). Keep this in mind when selecting pieces.

Step 3: Contact the potentials

If they say no, do not hound them. This is one of the fastest ways to annoy and loose the respect of the musicians who very well may be the ones who could recommend or hire you in the future. Remember, they are busy people too. Please allow at least a month before the hearing to give them ample time to learn your music.

Tip: if you have ensemble pieces with standard instrumentation, ask the ensembles¬†that are already set up first as they probably already have set rehearsal schedules. This worked very well for Matt’s Music (a brass quintet).Also, it helps if the musician has played your piece before.

Step 4: Get Everyone’s schedules

….and keep them on file with the ensembles for your pieces that they are in. This comes in handy when scheduling rehearsals. It is likely that you will have to organize them and keep them in communication with each other so that rehearsals happen. Also, don’t be surprised if it is you who has to ¬†reserve the room they are to rehearse in. After all, they are doing you a favor.

Step 5: Select potential dates for the hearing and Recital

Doodle polls work great for this. I had 5 dates and multiple potential times picked for each and had everyone involved fill out when they would be able to make it and went from there. The potential times and dates were picked out of the results of examining all schedules for free times. However, how you do this is up to you but always double check with everyone involved before scheduling anything.

Step 6 Find Venues and select a Jury

After you have your potential Hearingdate figured out, find an acceptable committee and ask them which out of these times they can make. Then, reserve the space well ahead of time so there is no last minute fumbling for a location. Do this for your Recital location as well (not forgetting to allow at least an hour of time before and after the concert to allow for setup and the reception/tear down). I advise allowing at least 3 weeks between the Jury and Recital date in case something happens at the jury where you have to do something over again in order to pass.

Step 7 Contact all players again

Let them know these dates times and places and KEEP REMINDING THEM. Do this for your jury committee as well. If you wish to have it recorded professionally, you will need to contact these people too.

Step 8 Print our all scores- at least 1 copy of each for the jury committee members.

It also looks better if you have a set plan and put the scores in the order in which they will be heard.

If you can, keep extra parts on hand as well as you just never know when music can get lost before a performance. Assuming that you pass (which you probably will if you took the time to get all ducks in a row), the fun part begins.

Step 9- plan the program and submit information

Keep in mind length of pieces and what feels natural to a concert flow. It helps for stage setup and tear down if you can put pieces together that have the same players or stand set up. Also, decide if you want an intermission and where to put this.

Pleas from a brass player: If your recital is particularly long and there is no intermission where a brass player can warm up. PLEASE avoid having us play toward the end, as the chops don’t always respond at their best when sitting for long periods and there is no guarantee that your piece will not be effected by this fact. Though warm up time¬†is also helpful to woodwind players, they have the advantage of silently soaking the reed in their mouth where as we can’t warm up much more quietly than making fart noises through our mouthpieces.-end rant

Step 10: Advertise

Make recital posters with all information- Date, time, venue,and if you plan on having a reception (free food draws crowds). Post them all over the music building and anywhere else that is appropriate. If you want a bigger crowd, ask friends to advertise and hand out posters as well.

Making a Facebook event page and inviting anyone you can think of is a great way to get the word out as well. After all, the people who have seen you progress will want to know so they can come out and support you.

 Step 11: Have the recital

Congratulations! You have made it to the ultimate prize.

If you are comfortable talking about your pieces, great. If not, program notes are a big help. A friend can take on the MC duties as well if you prefer.

On recital day, make sure that there are enough stands for your players and that the programs have been picked up. Arrive early and bring your extra parts. prepare for the worst, and expect the best.

 

Final Advice: While all of this planning is going on, try to find time to thank the musicians for working on the music and encourage them. Also, if questions come up from them, mark them in your scores and make sure they are corrected before the hearing. Don’t forget to have fun, be flexible and keep a sense of humor during this process. Refer to Step 1 to keep stress minimal. Happy planning and Composing!

 

What’s New in the life of Sam?

Well, lots of things as a matter of fact. First of all, I applied to be accepted to a 12 day Summer Composition intensive in Indiana and….I GOT ACCEPTED!!! This is an awesome opportunity as I will get to study with professional composers such as Zae Munn, Michael Schelle, Kristin Kuster, ¬†Jay Batzner, ¬†and Joshua Marquez,¬†meet and network with other young composers who have¬†similar musical goals in mind, and learn some new techniques to broaden my horizons. I will also be working my tail off in the near future to save for this learning experience (though I will also be gratefully accepting donations so that I can justifiably afford to eat).

Secondly,I’ve recently heard back From Avguste Antonov concerning the upcoming CD with Cumulus Humilis on it and that is nearing it’s final stages. As a contributing composer to his Debut album, I am both honored and excited.

Thirdly, for your playing Pleasure (or agony), several new Scribbles and Doodles have been released. Please feel free to investigate these and if you wish to perform any of them, they are free of charge, though it would be appreciated if you would send a copy of any programs.If your instrument is not there, do not worry. It will likely make it on there in the near future. Also, any recommendations or requests for a new scribble are always welcome.

Fourthly, I wrote a new Band Piece! This one is very different from most other works I’ve produced as of yet due to its placid simplicity. It is called Reverence and was composed with a young or small band in mind. The profound Fraggle Rock quote from Cantus the Bard ” There is Movement in the stillness just as there is Music in the silence.” was the main inspiration for the mood of this piece (as well as the 2 night long bout of insomnia and boredom from not sleeping). I tried to Follow Steven Bryant’s advice that he gave to me during a very fortunate meeting at Midwest last December, which was to build off of a simple motive rather than be programmatic, and kept the lessons that were learned talking to music educators teachers about needs in repertoire and what would help their students in mind. Hopefully, I’ve succeeded…or at least come close.

Fifthly, life has been a whirlwind of musical performance meeting real life lately. A midst preparing to move out into an apartment¬†this summer and searching for¬†a new job (as sadly I must leave my library campus job when I graduate), life has had an interesting way of creating musical opportunities that present themselves to keep one busy. Since February, I’ve been singing with ¬†the Youngstown Trinity United Methodist Church ¬†on a regular basis (my first full time church choir gig since 2008), performing in several concerts (Trombone day, ¬†The C.P.E. Bach premiere, ¬†multiple recitals and others) writing essays, and working on Scribbles and Doodles to keep myself composing on a regular basis. Any spare time has been spent organizing, practicing and rehearsing groups for an upcoming recital.

Speaking of which, the planning for the Sr. Composition recital is well underway. This will take place April 25th  5pm at Trinity United Methodist Church in Youngstown. thanks to 23 willing Victims  musicians who graciously volunteered to play my music. Stay Tuned for an update on the program.

 

 

My Latest Expirament

Thanks to my composition inquisitor (aka teacher), I have been working on a piece completely unlike any other I have attempted as of yet. Scott challenged me to  abandon my usual frame of having a story to compose  and instead  write what is called a Visual-Spacial notation piece. Basically the piece does not have bar lines to designate strict meter subdivisions. Instead, it leaves it up to the performers to designate where the musical figure is to fit within where the designated time specifies. It calls for ordered improvisation with a demand for the group to play as an ensemble.  So far, the piece looks like this:

(Click picture for a larger view)

Composing this piece has forced me to think more freely about musical lines and textures and to consider multiple possibilities for the building blocks of a work.  Along the way, my teacher has had me looking at various scores with non-traditional notation by Cage, Varese and others I may not have picked up otherwise and we have discussed them in our lesson. Many Cagian  ideas such as indeterminacy have made it into this piece as a result. For example, I got the idea for how to break up the time by rolling dice except for the 30 second section, where I anticipate the performer to successfully make a sandwich with the ingredients already set (mainly because I timed this myself at home).

Other than the fact that I am using kitchen percussion and adding the humorous element of a musician making a sandwich for no other reason than to add improvised non- traditional sounds, this piece lacks a preconceived story and instead has its own underlying framework. Although I anticipate that the piece will sound “wonkey” if and when it is performed, I have enjoyed trying to think within this loose structure.

Highlights from the Last Month

So, it’s been awhile since I have had time to post anything on here. 1 month in Internet time is equivalent to “like forever” in real world time as we all know. In order to make up for that time, I will attempt to explain the highlights ¬†in a nutshell:

1) Cumulus Humilis was performed 3 times by Avguste Antonov the week of the New Music concerts at the end October. In that time, he was approached by Hartshorn record company in NY to record a cd of New piano works. To make a long story short (too late) he chose my piece to record on the Cd and I am still ecstatic!!!

2)New Pieces have been written- As an added unexpected feather in my cap, I was asked to write music for the upcoming Worlds Quest browser game. This was my first official video game related project and I am elated to say that my first attempt was a success .To sum things up, they liked it-a lot and I am grateful. The game will be released  on December 20th.

Also, I have been working on a new experiment at the request of Scott. I will be writing a blog post about it shortly. Other plans include creating a  collection of one page solos for  from all of the 8 bar excerpts that were composed for Instrumentation class this semester. I am debating calling the collection Doodles and Scribbles or something to that effect.

Desiree Carrion and I after Carols and Cocoa 2013

3) I played my last Carols and Coccoa concert of my undergrad. This was a surreal experience as it is hard to believe that the time has flown that quickly. Kudos to my friend (and soon to be SAI sister) Desiree Carrion for having her first arrangement for Trombone ensemble performed. God Rest Ye Marry Trombonists was a ball to perform for a last hurrah ,and I especially cracked up singing the Lyrics “to save us all from Schoenberg’s Music when we’ve gone astray”. For a three hour plus long annual concert that we all complain about, I’m sure going to miss performing in it-sort of.

4)¬†In November, I helped premier ¬†a piece for Trombone quartet by fellow composer Richard Zacharias called Pardon My Slide with my friends Mariah Bailey, Bo Violette and Andrew Stamp. I also had the honor of Performing The Dance of Spring for Yanda Zhu’s Graduate Composition Recital. If you haven’t heard of him, you probably will soon.