Archive for the ‘News’ Category

Crescendos and Cadences: My Journey Through Music and Musings

Monday, March 25th, 2024

The Interlude of Busyness:
The orchestra’s recent performance consumed my days and nights, leaving scant moments for reflection or updates. With the concert behind me, a brief pause in the composition allows me to turn my attention to lingering tasks and the anticipation of our next concert in May.

A Harmony of Endeavors and Earnings:
Amid the whirl of concert preparation, royalty checks from my publisher and ASCAP arrived, a modest 🤣 but appreciated acknowledgment of my work.

Given my publisher’s focus on high school band and small ensemble pieces, there’s a dissonance between their specialty and my current creative direction. This disjunction sparks a thought I should compose more small ensemble works, potentially bridging the gap between my musical evolution and their publishing niche.

Composing the Tapestry:
A significant milestone was reached in the development of my latest composition—the completion of the “tape” portion’s rough first draft. The third section, infused with themes of hope and the potential for change, interlaces quotes from its predecessors, culminating with Reagan’s iconic call to “tear down this wall,” thus leading us into the coda. I’ve merged my two different files into a singular narrative, setting the stage for orchestral integration through Finale.

Reagan’s quote at the Berlin Wall.

Reflections and Revisions:
Despite the progress, feedback from a composers’ forum on the phase section remains unaddressed. My strategy? To draft the composition in its entirety before revisiting these insights, ensuring a holistic view of the piece before embarking on adjustments.

Orchestrating Emotions:
The journey into the orchestral part of the composition has begun, with progress on the opening segments. After the introduction, the initial section of the first part is a meditation on societal fear in a post-9/11 world and its push toward authoritarianism. The orchestra marks this by the ominous Dies Irae theme, resonating with the echoes of “fear.” My current focus lies in transitioning into the subsequent, more positive segment, seeking a balance that mirrors the complex emotional landscape of our times.

Fear in the “tape” and Dies Irae in the orchestra.

As this symphonic journey unfolds, the blending of life’s crescendos with musical cadences continues to challenge and inspire. Stay tuned for further updates as I navigate these chords of creativity and reflection.

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Juggling the Composition Puzzle: A Week of Multitasking and Musical Reflections

Thursday, March 7th, 2024

This past week has been a whirlwind of activity, stretching my time across various fronts – from the meticulous preparations for the much-anticipated memorial concert on March 16, to essential updates in my studio, and diving into engaging video projects. Amidst this bustling schedule, my latest composition has been a constant beacon, drawing me back to the creative fold, albeit with the wish for more uninterrupted time to devote to it.

Progress Amidst Pressures

I’ve reached a pivotal point in my composition, rounding off the second section and venturing into the third. Yet, there’s a whisper of concern in the back of my mind about ensuring the orchestra’s voice isn’t overshadowed. The third section’s inception has also brought its own set of challenges, notably aligning my initial vision with the unfolding reality of the material at hand. Aiming for a substantial three-minute section feels just out of reach with the current content, prompting a reassessment of incorporating more orchestral breadth, which I’m currently navigating.

Drafting and Redrafting

The path forward seems to lie in drafting this section with flexibility, allowing for the organic integration of the orchestra as the piece evolves. This iterative process, balancing between the tape and orchestral elements, promises to be an intriguing journey of adjustment and discovery.

Feedback and Reflections

In a quest for fresh perspectives, I brought this evolving work to a composers’ forum last week, particularly highlighting the short variation I wrote for the memorial concert and the in progress one featuring presidential quotes. Through the Looking-glass with Mark was received well and the session was illuminating, with the debate on the final chord’s tonality—major for an uplifting resolution or minor for depth—capturing the essence of creative divergence.

However, introducing my new work proved to be a lightning rod for reactions, with its content stirring a mix of negative responses. While intended to provoke thought, the intensity of the feedback was a stark reminder of the fine line between challenging perceptions and crossing into realms some might find uncomfortable. This balance between provocation and respect, intention and reception, is a delicate dance.

Looking Ahead

Fueled by the forum’s feedback, I’m now contemplating subtle adjustments to ensure the piece remains provocatively engaging without alienating listeners. This process of refining and reevaluating is the heart of creative evolution, an endeavor made richer by diverse perspectives. Navigating through these complexities adds to the challenge of meeting the May concert deadline for this work, especially if significant revisions are necessary. I already sense that I’m behind schedule.

I plan to seek additional feedback by having others listen to the piece and gather diverse opinions. I might be reaching out to you, my readers, for insights, this piece’s journey is a testament to the complex tapestry of modern composition—where every note, every pause, and every feedback loop weaves into the broader narrative of our shared human experience.

Stay tuned as I continue to navigate these creative waters, seeking that harmonious balance where music not only resonates but also sparks meaningful dialogue and reflection.

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A Musical Homage: Crafting My Variation for Dr. Mark Alburger’s Memorial

Tuesday, February 13th, 2024

In a whirlwind week filled with the debut of my new show “Music from Humans,” Chinese New Year celebrations, and Super Bowl excitement, I managed to complete my composition ahead of the deadline. This piece is part of a unique tribute for the SFCCO’s memorial concert, Leaving a Mark, for Dr. Mark Alburger, where composers were invited to create a two-minute variation based on themes from his opera, Antigone.

Delving into Antigone’s Musical Legacy

Dr. Alburger described Antigone as a “grid” opera, inspired by Mozart’s The Magic Flute, yet distinctly marked by rebellion—transforming major keys to minor, quickening slow tempos, and infusing rhythms with syncopation. It draws from a vast array of musical influences, from Philip Glass and J.S. Bach to ’70s pop and beyond, weaving them into a unique musical narrative.

In my composition, the echoes of Philip Glass and the unmistakable inverted BACH motif are predominant. Mark’s music often possessed a crystalline quality, which I aimed to highlight, alongside a middle section that served as a lament, a personal tribute to Mark’s influence on me.

BACH motif
Mark Alburger's theme from Antigone

Mark Alburger's theme from Antigone

The Challenge of Brevity

Condensing my vision into a mere two minutes was a formidable task. My initial intro took up nearly half the allotted time, prompting a meticulous process of distillation to ensure every note contributed to the narrative within the tight constraints.

A Deep Dive into Composition

In crafting the introduction, I chose to echo Mark’s style with a Glass-inspired beginning, yet I ventured further by inverting it and extending the measure lengths as a variation on his idea.

Beginning of Mark’s Overture to Antigone.
Beginning of my variation.

Drawing from my previous work, I attempted to encode Mark’s name in Morse code within the composition. This required some adjustment from my initial idea. The solution came through doubling the note values and distilling the homage to just his first name, boldly carried by the brass section, creating a powerful and vibrant contrast against the minimalist backdrop.

My lament section.

Transitioning into the lament, I deliberately slowed the pace, while maintaining the inverted BACH motif and Glass’s harmonic accompaniment. Here, I introduced a personal touch by integrating my surname in Morse code, with the alto sax and bassoon leading this segment. These instruments, which I frequently played in Mark’s compositions, added a deeply personal layer to the tribute.

The composition circles back to its introductory motifs and tempo, leading to a brass-led finale that I believe Mark would have appreciated. In this work, the brass and woodwinds each take their lead in their respective sections, mirroring the dual nature of Mark’s musical legacy—the bold and the introspective.

Anticipation and Reflection

As I await the ensemble of variations from fellow composers, the anticipation of weaving these diverse tributes into a cohesive concert piece grows. This process has been a profound journey, not just in honoring Dr. Alburger’s musical innovations but also in exploring the depths of my creative expression.

The Road Ahead

With several tasks still pending for the concert on March 16th, including creating printed scores and final preparations for the orchestra, I’m readying myself for our first rehearsal. Once these are in hand, I plan to return to the project I had to momentarily set aside. This process, from conception to completion, has been a profound reminder of the power of music to honor and remember, to encapsulate the essence of a remarkable individual like Dr. Mark Alburger.

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Crafting Music: My Week of Progress in Musical Storytelling

Monday, January 29th, 2024

This week has been incredibly productive for my latest composition project. With fewer competing tasks, I’ve been able to dedicate more time and energy to this creative endeavor. Here’s a glimpse into my journey this past week.

Narrating History Through Music

My primary focus has been on meticulously arranging various presidential quotes to narrate the story I aim to convey through my music. This has allowed me to create detailed notes and a plan for this composition. The process involved not just the selection but also extensive research to find additional quotes that would enhance the narrative. It’s been a fascinating experience, delving into the depths of history, uncovering the words that resonate with the story I want to tell and fit into my musical puzzle.

Beyond Conventional Forms

Breaking away from traditional structures like Sonata Allegro or Rondo, I’m sculpting this piece as a timeline – a musical chronicle, if you will. The base phase loop of the composition takes about 14 minutes to complete its phase cycle, with an additional minute allocated for the coda section. Envision a 15-minute journey, segmented into an introduction, a coda, and three main but interconnected sections:

  • The Resilient Nation: The first, and longest, section starts with optimism, drawing from the strength and forward-thinking of Presidents like FDR, JFK, and LBJ, as well as a quote from Bush Jr. It’s a celebration of our nation’s enduring spirit.
  • Confronting Our Shadows: Transitioning to a more critical tone, the second section spotlights our failures, selfishness, and moments of corruption, marked by a rhythmic repetition of the word “false” around the seven-minute mark. This section includes impactful quotes from Clinton, Nixon, and new ones from Trump.
  • The Dawn of Hope: The final section echoes a message of hope and potential for rectification. It shifts from the previous section with a poignant quote from Eisenhower, followed by optimistic inputs from Obama and Reagan, along with some recurrences from the first section. It’s a musical embodiment of our capacity for change and improvement.

Challenges and Solutions in the Creative Process

This week’s puzzle was seamlessly connecting these thematic sections. The transition from the first to the second section posed a unique challenge. To tackle it, I split my work into two separate audio files. This approach allowed me to focus on the second section, where my ideas were flowing more freely. Once I had a solid draft for the first half of this part, I revisited the end of the first section to smooth out the transition. I’m pleased to say that I now have about nine minutes of the “tape” part of the piece in a good first draft.

Pausing for a Tribute

Temporarily, I’m shifting gears to contribute to a collaborative tribute to Dr. Mark Alburger, a set of variations based on his opera “Antigone.” It’s a project that brings together 6-7 composers, each adding their unique voice to honor Mark’s legacy. So far, I’ve sketched out a few ideas and begun laying out the score. Stay tuned for more updates on this exciting collaboration!

Parting Notes

This week has been a blend of creativity, challenges, and solutions, underscoring the ever-evolving nature of composing music. Documenting my notes and plans has been crucial in keeping track of my progress. It’s a reminder that the process of creating music is as much about the journey as it is about the destination. I look forward to diving back into my main project soon, but for now, the tribute to Mark takes precedence. Thank you for being a part of this adventure. Your support fuels this musical exploration. Stay tuned for more stories from this composition odyssey.

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Navigating Challenges in Music Composition: Two Key Lessons Learned

Monday, January 15th, 2024

Today, I want to share two important lessons from my recent experiences in composing and music notation.

1. The Importance of File Formats and Backups

Last week, my progress in composing was slower than anticipated – I managed to add only about 50 seconds to my composition. This was partly due to other projects taking precedence. One significant task was rescuing compositions for Dr. Mark Alburger, the founder of SFCCO, who sadly passed away last summer. We’re organizing a memorial concert for him titled “Leaving a Mark,” but faced challenges with various music notation software.

Some of his music was in the now obsolete Encore software, while others were in Finale and Musescore. As a regular Finale user, handling the pieces in this format was straightforward, allowing me to seamlessly generate parts. Musescore, having recently undergone an update, has become more user-friendly. However, familiarizing myself with its nuances, particularly in exporting parts, presented a bit of a learning curve that I navigated with interest. The biggest hurdle was the Encore files. I tried several methods, including attempting to compile software tool for conversion. Eventually, the simplest solution was using an old laptop that could run an older version of Encore. This allowed me to convert files into MusicXML for use in Finale or Sibelius.

This experience taught me the vital importance of keeping scores and parts in accessible formats like PDF and MusicXML. I almost lost my first symphony, which was in DOS-based software. Thankfully, I had printed copies, though it still requires re-entering it into a modern music notation program.

2. The Value of Detailed Planning and Notes

The second lesson concerns the current piece I’m writing. I never anticipated such a long pause in its creation, leading to insufficient notes on my plans. While the overarching ideas and concepts were clear, the detailed, section-by-section plans were lost in my memory due to the extended break. This resulted in significant delays as I tried to recall and reconstruct my original plans.

This was a major oversight on my part, as I usually document thoroughly, especially for longer pieces. My usual practice includes taking notes of any good ideas, even for later sections. The key takeaway here for fellow composers is the importance of documenting your plans comprehensively. Ensure that you have enough details about your themes and ideas so that it’s easy to pick up where you left off, even after a long pause. This approach can save you from having to re-conceptualize parts of your work.

Both these lessons have been poignant reminders my approach to composition and music notation. I hope sharing them helps you avoid similar pitfalls and enhances your creative process.

Stay tuned for more updates on my compositions.

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2024 Back into the Creative Endeavor

Tuesday, January 2nd, 2024

I’m diving back into a creative endeavor I began in 2023: a composition that marries the sounds of an orchestra with a digital recording, a modern-day interpretation of the classic orchestra & tape pieces. This project found its roots in the insights I gleaned from Steve Reich’s book “Conversations,” a read that also sparked the idea for my new project, “Music from Humans.”

During my college years, I composed a digital tape piece titled WhatdouWant?, drawing inspiration from Reich’s phase tape works like Come Out and It’s Gonna Rain. Unfortunately, this piece is currently imprisoned in a DAT tape, inaccessible for sharing (unless someone has a DAT deck I can use), but it was my initial foray into using Reich’s phasing techniques, layering various samples and synthesizer sounds. Now, three decades later, this new work revisits and expands on those early ideas.

For this yet-unnamed piece, I’ve sourced my material from a range of presidential quotes — some uplifting, others less so. The voices, all from modern-era presidents starting with Franklin Delano Roosevelt, were selected through an immersive process; some quotes were clear choices, while others emerged from deep listening sessions through historical speeches. So far, the roster includes voices from FDR, Eisenhower, JFK, LBJ, Nixon, Reagan, Clinton, Bush Jr, Obama, & Trump.

The current phase of the project involves cleaning up these audio clips and constructing the “tape” component of the composition. Like WhatdouWant?, this piece creates a foundational drone from a phased loop of a Trump quote. Similar to Reich’s methodology, this section involves slightly desynchronizing the playback speeds to create the phasing effect, which I’ve found works best in mono, as stereo seems to allow the brain to more easily distinguish the separate tracks, thus enhancing the rhythmic phasing.

This evolving drone spans just under 15 minutes, allowing room to build an introductory section and a climactic ending, aiming for a total duration of 15 minutes. The intro echoes Reich’s style, presenting the quote in a context closer to its original form. The climax, inspired by the Beatles’ A Day in the Life, accelerates and ascends in pitch until it abruptly stops.

In 2023, I began layering other presidential quotes over this sonic foundation, manipulating them for various effects. My goal now is to finalize this “tape” part of the composition first. Subsequently, I plan to integrate the orchestra, weaving in some of Reich’s techniques from Different Trains. I envision the tape part more as a soloist complemented by the orchestra.

I’m excited to share this creative journey with you, planning to post updates as the piece progresses. Stay tuned for insights into my process as this composition takes shape, with the aim of premiering it at the May SFCCO concert. Check back often for the latest developments in this fusion of history, music, and technology.

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Voice for the Formosan Parents – the Lullaby (搖嬰仔歌)

Sunday, April 12th, 2009

I recently completed a first draft of new orchestra composition which is a Theme & Variations on a famous Taiwanese lullaby, 搖嬰仔歌. I have found many variations in the translation of this melody’s title , “Cradle Song”, “Voice for the Formosan Parents – the Lullaby” or simply “the Lullaby”.  My wife sings this melody to our daughter every night and calls it “Rocking the baby”, my daughter just calls it “sleep song.”  We though it was an old Taiwanese folk song but when I started to do research on it I found it is a modern song. It was written in 1945 by the famous Taiwanese composer, 呂泉生 (Lu Chuan-sheng). Professor Lu was known as the Father of Taiwan Children’s Choir  because he was dedicated to promoting Children’s choir for 50 years as well as writing over 200 composition.  I have read a few stories about the events inspiring the writing of this piece:

In May 1945 during WWII, the allies bombarded Taiwan heavily to fight against Japan.  Master Lu evacuated his wife and 3 months old infant to the countryside of Feng Yuan, his hometown.  He stayed in Taipei and worked in Taipei Broadcast Bureau.  As the night fell, Master Lu’s longing for his wife and new born son inspired the song. The song has a wonderful simplicity that expresses the traditional attitude all Chinese parents have toward their children. It extols the hardships and high expectations experienced during child rearing.

My wife translated the lyrics which where written by Master Lu
father-in-law as:
The version of this melody I’m using for my composition is a little different as it is a transcription of the way my wife sings it to my daughter, but I have found this copy online of the original after I completed my piece.
A baby Sleeps
Growing one inch a night
Sweet baby
growing one foot a night
Rock the baby until sunset
staring at the baby in my arm
you are my sweetheart
worry you’ll get cold
cherish the baby like gold
It’s a great responsibility to bring up a baby
If only you get married, my duty will be relieved.

Sheet music to the lullaby

Sheet music to "the lullaby"

Master Lu Chuan-sheng passed away in the United States March 17, 2008 but generations long after will be still learning his songs to perform in concerts. I hope he would have enjoyed my composition inspired from his.

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Sheng

Saturday, March 28th, 2009

Michael playing sheng.

Michael playing sheng.

        I’m currently working on a new orchestra composition that adds two Chinese instruments to the orchestra, the shēng and gǔzhēngThe sheng is a 3000 year old Chinese free-reed bamboo mouth organ. It reached Europe around 1777 with Pere Amiot, and its influence was so strong that it resulted in the invention of the reed organ, concertina, harmonica and accordion. I have been learning how to play the sheng since the summer of 2008, when I finally bought one in Taipei, Taiwan.  I have been interested in the instrument for 20 years, though I first learned about the Japanese version called a shō. I bought a modern 38 key chromatic jiàn sheng, which is a very versatile instrument. Being chromatic means it can play in any key and works well in western music as well as traditional Chinese. One of the things that I like about this instruments is it play chords like a piano. As a life long woodwind player I rarely get to play chords on my instruments so it is great to be able to. Another thing that is cool about this instrument is it makes sound when you breath out or in. So you can keep it making sound for a long time.

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String Theory – First Rehearsal

Sunday, February 22nd, 2009

String Theory p.13

String Theory p.13

Rehearsing my guided improvisation compositions is always a bit of a challenge at the first rehearsal. Most of the confusion stems from the unfamiliarity of the orchestral musician to improvisation, so the first question is always what am I supposed to do? Now the other bit of confusion come from the notation style which is also rather unique. I always write a ledger to explain the notation but many time the musician fail to read it before the first rehearsal and I waste time reading to them. I also noticed that old musicians seem more confused by none standard notation, they don’t seem to be a flexible in excepting new concepts. It is to be expected that the first rehearsal of a guide improvisation piece does not go to well as the musician need some time to figure out and to explore ideas that what will work. It one of the reasons why it is important to rehearse a piece like this, though it is equally important to make sure you don’t over rehearse so it does not be come stale. If the musicians are getting the concepts quickly I tend to cut short rehearsals, so ideas stay fresh. On the first rehearsal of String Theory, musicians where really just getting there feet wet trying to figure out what they can do, that included the conductor. I’m going to  have the conductor, Dr. Mark Alburger (who is a veteran conductor of my music) to conduct more, more clues and encouragement to the musicians then just the marking the sections like I asked him to do the first time. Hopefully at tonight’s rehearsal people will be more comfortable playing this work and better performance results. I think I’m not going to play this time and just listen to better evaluate what is going on.

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String Theory just completed

Saturday, January 17th, 2009

String Theory        I have just completed a new composition, String Theory, which will be performed by the SFCCO on February 28th, 2009.  String Theory is inspired by the theoretical physics theory of the same name. String Theory is the revolutionary and shocking branch of theoretical physics that combines quantum mechanics and general relativity into a quantum theory of gravity. According to string theory, absolutely everything in the universe—all of the particles that make up matter and forces—is comprised of tiny vibrating fundamental strings. The Strings of string theory are one-dimensional oscillating lines, but they are no longer considered fundamental to the theory, which can be formulated in terms of points or surfaces too. In this composition, I have used graphical notation representing strings, points and surfaces to guide the orchestra in improvisation. Since String Theory may prove Einstein’s unified field theory at the very end of the composition the orchestra unites. If String Theory proves to be true it creates an elegant universe composed entirely of the music of strings.

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