Archive for the ‘Composition’ Category

Impromptu M/M

Sunday, June 2nd, 2019

Impromptu M/M


The art of multiphonics on the bassoon has always captivated me. This technique allows for the simultaneous production of multiple pitches, creating an array of sounds from harmonious chords to dissonant echoes. Achieving such a rich auditory landscape requires unconventional fingerings and precise control over the embouchure, significantly broadening the expressive capabilities of the bassoon in avant-garde music.
This fascination led to an unexpected opportunity with the SFCCO. In May 2019, when a performer unexpectedly dropped out of a concert, I seized the chance to step in. The original piece was set for oboe and electronics, and I envisioned replacing it with a piece centered on bassoon multiphonics, believing it explore new sonic territories.
I approached another “Michael” in the orchestra, Michael Cox — a fellow Texas school alumnus known for his adventurous spirit in music — to see if he was interested in a duet. We quickly formulated a plan where, initially, I would create a foundational layer of multiphonic textures for Michael to play over. This collaborative effort evolved into what we now know as Impromptu M/M, a testament to the creative synergy and spontaneity that defines improvised music.

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Open Ended (5/5/2018)

Saturday, May 19th, 2018

Open Ended

 
Open Ended is a very versatile work that is composed live before your eyes and ears. Based on Rova‘s Radar techniques, Open Ended is less of a composition and more of a color or tool palette. It is an ever-growing collection of rules and games for the performers that are triggered by hand signals by the conductor/composer. The conductor/composer then composes the piece live using these hand signals to guide the performers. The ability to compose with what happens in the moment, in real time, is what is required to produce this piece. This similar to the “Soundpainting” language was created by Walter Thompson in Woodstock, New York in 1974. This work has no set instrumentation and can be played by any number of performers. It also has no set length; the piece could last 5 minutes or 24 hours. Open Ended has been performed several times, including performances in 2005 and 2009 by the

   SFCCO, but every time it is a world première and unique performance that can never be repeated.

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Fantasy in D

Thursday, April 21st, 2016

Fantasy in D is a musical composition that embraces the spirit of a fantasy — characterized by its free form and an improvisational style. Tracing its roots to early 16th-century fantasias, this piece evolves the concept by involving short sections driven by one or more musical motifs. True to the fantasy tradition, it uniquely integrates orchestral improvisation. Performers are provided with collections of notes or instructions, and are encouraged to improvise within these guidelines for set durations.

Fantasy in D

Pages from the score

The structure of Fantasy in D is a blend of improvisation and fully notated music. While certain sections are strictly composed, others offer musicians the freedom to explore. A recurring element is a three-note motif, especially pronounced at the piece’s climax. The composition is divided into two primary sections, with the second being an inversion of the first (b+a instead of a+b). This overarching structure is further broken down into 64 smaller sections, following a hierarchical breakdown (2-4-8-16-32), each triggering unique events, textures, chord changes, and instrumentations.

Score Draft Notes

Score Draft laying out the Golden Ratio

The timing of each section is guided by the “Golden ratio“, φ (phi) or 1.6180339887498948482…, celebrated for its prevalence in natural patterns and lending an organic quality to the piece. While the tonal center is D, the piece navigates through various modes and tonalities including D, A, B, G, major and minor, creating a sound that is D-centric yet modally diverse, so it is really in D (ish).

Fantasy in D

The mood of “Fantasy in D” is tinged with somber and melancholic undertones, influenced by personal life events during its creation, including the passing of my father and my mother’s battle with pancreatic cancer. This piece, premièring on May 21st, 2016, by the SFCCO is a reflection of these emotional landscapes, woven into its musical fabric.

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for Loop

Thursday, April 30th, 2015

for n in reversed(range(1,4)):

play(n)
pause(n)

For Loop or 80’s Nostalgia

SFCCO performs for n in reversed(range(1,4)): play(n) pause(n)

 
In the 1980s, during my school years, pattern music – encompassing minimalism and post-minimalism – was at its peak. Among my peers at school, John AdamsShort Ride in a Fast Machine resonated strongly. My piece for Loop initially began as a homage to that vibrant era. However, as the composition evolved, it took on a mechanical, almost computer-like quality. This shift, likely influenced subconsciously by my college composition professor, Dr. Cindy McTee, and her work Circuits, led me to discover a recurring pattern in the piece: play 3 – reset 3, play 2 – reset 2, play 1 – reset 1. This pattern reminded me of a simple ‘for loop’ in computer programming. Thus, the title for n in reversed(range(1,4)): play(n) pause(n) was born, reflecting this programming loop and accentuating the composition’s likeness to a computer in operation. The San Francisco Composers Chamber Orchestra (SFCCO) brought this piece to life with its premiere on May 9th, 2015.

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Triangles

Friday, May 23rd, 2014

SFCCO performs Triangles


Triangles is a composition inline with my composition Pollock which the SFCCO premiered 12 years ago. The present work uses guided improvisation and colorist techniques to create it’s sound.  The title of the work comes from the Triangular number sequence that inspired the form of the composition. There are three large sections lasting 4 minutes each. These large section have a fundamental pitch center of  ii-v-I, my jazz roots. These large sections are made up of three sections A (modal runs), B (intervalic movements) and C (chordal sustains). Each of these sections (A,B,C) are also made up of three sections each one lasting a value in the triangular number sequence (ex: 10, 15, 21, 28, 36, 45). One could also look at Triangles a quasi rondo form: A, B, C, B1, C1, A1, C2, A2, B2 (Rondo Form: A, B, A, C, A, B1, A). While three is the magic number for this composition, the numerics are just the glue for the work. With sound-washes of runs, thick Ruggle-esque chords, and intertwining spontaneous melodies — Triangles aims to paint pictures in the mind.

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Incomplete Thoughts

Monday, April 22nd, 2013

SFCCO performs Incomplete Thoughts

 
Incomplete Thoughts was born out of the news that the SFCCO would not have all the bassoons they normally have for the May, 2013 concert. I stopped the piece on which I was working, and came up with another: a contemporary passacaglia where the bass line was in one time and the other instruments in others. I was thinking to use either multiple conductors or metronomes with earpieces. Desiring inspiration, I looked though some of my incomplete compositions for a bass line, and found something useable in a draft of an opera from many years ago. The figure went through some modifications and was given a lazy lilt in 7/8. I wanted to layer fragments of music on top, which were inspired by scraps of music not yet finished and other incomplete utterances. As I felt the work should be written in a stream-of-conscious-manner, an interruption motif came into being as a way to switch thoughts. While I eventually decided that the original idea of multiple times might be hard to pull off, I came up with other ways to have multiple times. In the end, I hope to have created a thought-provoking work that is more than the collection of Incomplete Thoughts that began it.

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A Love Letter: Minverva’s Dance

Monday, October 25th, 2010

Dancing to the original.

 
Minerva’s Dance was originally written for my wife and for our first dance as husband and wife in 2004. She loves tangos and the music of Astor Piazzolla, so I decide to write her a tango. I went into my studio and started laying down some tracks. My friend and band mate, Andrew Wilshusen laid down some percussion and a few days later I had it ready to go. Since this was a studio piece with long improvised sections only a small part of it was ever written down. In the summer of 2010 I decided to notate and expand the orchestration.  The flute and soprano sax are featured soloist. The flute solo is a transcription of the original solo I played but the sax solo for the 9/25/2010 SFCCO concert was improvised. My friend Erling Wold was originally going to play accordion on this concert but just be for the concert he got hit by a car and broke his leg. Minverva is the goddess of poetry, medicine, wisdom, commerce, weaving, crafts, magic, and the inventor of music.

SFCCO performs Minverva’s Dance

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A Love Letter: G.A.C. 26.2

Wednesday, August 18th, 2010

There is a quote from Wolfgang Amadeus Mozart’s letter to his father on November 8th 1777:

I cannot write poetically, for I am no poet.
I cannot artfully arrange my phrases so as to give light and shade.
Neither am I a painter;
Nor can I even express my thoughts by gesture and pantomime, for I am no dancer.
But I can do so in sounds.
I am a musician.

This quote inspired me to create a collection of pieces I call Love Letters. They are usually for piano, last about 3-5 minutes and are written for or about someone dear to me. Twenty years ago I decided I want to write one based on my father’s initials, GAC. But every time I sat down to write it I was unhappy with the results. After my parents visit this summer, I had a feeling time was running out and I sat down to try again. I finally heard something I was satisfied with and in a couple of weeks I completed the piece I have been wrestling with for twenty years. Not only did I use his initials but I used his full name by putting rests in place of letters not used by music notation. I also added in my own name at the end.

Notation of my Father's Name

Notation of My Father’s Name

Notation of my Name

Notation of My Name

My father is very interested in running and has run marathons all over the world so the A theme last 26.2 measures (26.2 miles is the length of a marathon) and the B theme is reminiscent of the music in the movie that inspired his desire to run “Chariots of Fire”. The finale is a culmination of all themes that runs on to the end.

Piano Version:
 

As I was finishing this composition I started to hear strings playing the B theme at finale so I decided to orchestrate it for chamber orchestra. On September 25th 2010 the SFCCO premièred this version.

G.A.C. for Orchestra

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Open Ended (redux)

Monday, November 16th, 2009

Open Ended

 
Do to unforeseen circumstances the composition I planed on having performed on the November 7th 2009 SFCCO concert had to be canceled. So I decided to pull out one of my guide improvisation compositions, Open Ended. I conducted/composed this performance as well as played tenor saxophone. It is a very versatile work that is composed live before your eyes and ears. Based on Rova‘s Radar techniques, Open Ended is less of a composition and more of a color or tool palette. It is an ever-growing collection of rules and games for the performers that are triggered by hand signals by the conductor/composer. The conductor/composer then composes the piece live using these hand signals to guide the performers. This work has no set instrumentation and can be played by any number of performers. It also has no set length; the piece could last 5 minutes or 24 hours. Open Ended has been performed several times, including two other performances by the SFCCO, but every time it is a world première and unique performance that can never be repeated.

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…with the Spirit of the Desert

Sunday, October 18th, 2009

Chisos mountains of Big Bend National Park

Chisos mountains of Big Bend National Park

On November 7th 2009 the SFCCO will be performing a composition I wrote back in 1993-94. It is a violin, bassoon and piano trio I call …with the Spirit of the Desert. This work is inspired by Big Bend National Park in Texas, a place I used to go camping every year in the early 90’s. The park can be thought of as having three natural divisions; the river, the desert and the mountains, thus why I chose a trio. Big Bend National Park lies in the northern third of the Chihuahuan Desert. The name Big Bend refers to the great U-turn the Rio Grande River makes there in Southwest Texas. Prehistoric Native Americans made their homes there at least 10,000 years ago and perhaps earlier. This area has been occupied many different Native Americans groups over the years. The La Junta, Chisos, Jumano, Mescalero Apaches and Comanche all made the homes in Big Bend. The Native Americans said that after making the Earth, the Great Spirit simply dumped all the leftover rocks on the Big Bend. Even though Big Bend is a desert it is full of wild life, you frequently see jackrabbits, roadrunners, golden eagle and coyotes. The composition is a seven-movement work, where the first three movements are played continuously as are the last four. Each member of the trio has it’s own solo movement, entitled “Alone”. The natural beauty of the area and its Native American past inspire other four moments. When camping in Big Bend where always awoken by spectacular sunrises,  the first movement “In the Sunrise with the Spirit of the Desert” represents that. The end of the first movement flows into the first of the solo movements which a this point is for violin. This solo second movement sets up the third movement, “Dancing the Dance of the Eagle…” This movement reminds the listener of a Native American dance and soaring golden eagles in the desert sky. The end of the third is the first break in the composition, the fourth movement is the bassoons solo movement which leads into the powerful fifth movement. “Two Braves Warring…” puts man vs. nature (and Spirits) as the desert is can be a difficult place to live. The rains and water finally come after this movement end on the last of the solo movements begin, this time for piano. After a long day in the sun the last movement takes place in the cool of the night as “Coyotes Howling at the Moon…”

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