Posts Tagged ‘bassoon’

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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The Timeless Magic of Christmas Carols

Tuesday, December 19th, 2023

As the holiday season draws near, I found myself seeking a way to immerse in the festive spirit. Amidst a hectic schedule, distractions, and recent trips to warmer climates, the quintessential Christmas feeling seemed elusive. Smells and sounds have a profound ability to trigger memories and evoke nostalgia, so I turned to one of the season’s most cherished traditions: Christmas carols. These songs, steeped in history and tradition, are not just melodies; they are stories that connect us through time and space. Join me as we explore the enchanting world of some beloved Christmas carols, from the tranquil beauty of “Silent Night” to the festive cheer of “We Wish You a Merry Christmas,” uncovering their rich origins and timeless charm.

Christmas carols originated in the medieval period, but they weren’t always associated with Christmas. Early carols were pagan songs sung at the Winter Solstice celebrations as people danced around stone circles. The word “carol” actually means dance or a song of praise and joy. Carols were later Christianized when the church found it challenging to convert the pagans who were deeply attached to their traditional songs.

The Victorian era saw a significant revival of Christmas traditions, including caroling. Charles Dickens’ “A Christmas Carol” played a pivotal role in this revival. Meanwhile, around the world, carols like “Feliz Navidad” in Spain and Latin America added their own flavor to the Christmas repertoire.

Today’s Christmas carols embrace an eclectic array of musical styles, and personally, I find the jazzy renditions most captivating. Adapting the time-honored tradition of community caroling, I’m doing this virtual caroling post to bring people together in song and festive cheer. Considering my friends and family are spread across various corners of the world, this virtual approach seems like the most inclusive way to engage everyone in this cherished aspect of our Christmas celebrations, maintaining its vibrancy and significance despite the physical distances.


“Greensleeves”: Often associated with the holiday classic, “What Child Is This,” the melody of “Greensleeves” dates back to the Tudor period. While not originally a Christmas song, its poignant melody has become synonymous with the holiday spirit.

Greensleeves

It's Beginning to Look a Lot Like Christmas

“It’s Beginning to Look a Lot Like Christmas”: A relatively modern addition, this carol encapsulates the excitement and anticipation of the holiday season. Its lyrics, filled with images of festive decorations and joy, capture the essence of Christmas in contemporary times.

Good King Wenceslas“: This carol tells the story of a Bohemian king braving harsh winter to give alms to the poor. Its message of kindness and charity resonates deeply during the Christmas season.

Good King Wenceslas

God Rest Ye Merry, Gentlemen

God Rest Ye Merry Gentlemen“: This traditional English Christmas carol dates back to the 16th century. Its lyrics, conveying the joy of Christ’s birth, were a way to lift spirits during the colder and more challenging winter months.

Silent Night“: Originating in Austria, Silent Night is perhaps one of the most universally beloved carols. Its serene melody and peaceful lyrics have made it a staple in Christmas celebrations worldwide.

Silent Night

We (I) Wish You a Merry Christmas

We Wish You a Merry Christmas“: Rooted in 16th-century England, this carol captures the essence of traditional English Christmas celebrations. It was commonly sung by carolers as they visited homes, spreading good tidings and cheer. The song likely stems from a custom where the wealthy members of the community rewarded these carolers with festive treats on Christmas Eve. This carol is a perfect embodiment of the season’s spirit of joy, generosity, and community well-wishing.

Merry Christmas!

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No. 95

Saturday, September 24th, 2022

No. 95


Recently, I’ve been developing a solo bassoon piece, experimenting with several motifs that ultimately inspired the improvisation you can hear above. This improvisation showcases my approach to composition, where I explore and expand upon themes through improvisation. The central theme of this work is rooted in an octatonic scale, enriched with microtones to add depth and texture.

The recording is from a live performance at the September 24th Opus Project concert, held at the Center for New Music in San Francisco. It’s a vivid example of how spontaneous creation can lead to the discovery and refinement of musical ideas.

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Light & Water

Saturday, May 15th, 2021

Light & Water

Light & Water is a collaborative multimedia project with my wife, Lisa, seamlessly blending music and video. Conceived as an inseparable pairing, the video, crafted by Lisa, serves as the foundation of the work. It is a montage of footage from our travels, capturing moments in Taiwan, Japan, Las Vegas, and the San Francisco Bay area.

This piece is structured into three movements, each characterized by distinct mood and color changes, yet unified through a continuous landscape theme. A key component of the piece is the Musique concrète sound bed crafted by Lisa. Musique concrète is a pioneering technique in electronic music where various recorded natural sounds are manipulated and mixed to create an auditory collage. This forms a unique sonic tapestry that blends real-world sounds with musical qualities.

Over this innovative sound bed, I layered my composition using multiple bassoons, prominently featuring multiphonics. This advanced technique enables the production of multiple pitches simultaneously on the bassoon, creating a spectrum of sounds ranging from harmonious chords to dissonant echoes. Achieving this rich auditory tapestry involves employing unconventional fingerings and intricate embouchure adjustments, which significantly extend the expressive range of the bassoon in this avant-garde context.

The transitions between each section are fluid, with a slight overlap, giving each movement its unique character while maintaining a cohesive narrative. Light & Water made its debut at the SFCCO virtual concert on May 8, 2021, and was well-received during at a MENSA event in November the same year.

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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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…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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Concerto for Musician

Sunday, May 9th, 2004

     I finished writing a new guided improvisation orchestra piece called Concerto for Musician. Concerto for Musician, what does that mean? Unlike traditional concerto, which are usually for a particular instrument, Concerto for Musician is for a multi-instrumentalist. The first movement is for a soprano instrument, then second movement is for an alto instrument and the last movement is for a bass instrument. At the world premiere the “musician” was me, the composer. I played the first movement on flute, then second movement on alto saxophone and the third moment on bassoon.

     Each movement has a feeling or sound, which is reflected in the movement’s title. The first movement is entitled: Cosmological. This movement has a vast sound with flares of energy and twinkling. The first movement tapers in to the second movement, which is entitled: Mechanical. This movement has a fast pulse and sounds like many mechanisms working at once. Aqualogical is the title of the third movement, which has an organic and liquid sound. One can hear the depths and breadth of the ocean in this movement.

    Concerto for Musician uses an unusual compositional technique: guided improvisation. As apposed to free improvisation where everyone does what ever they hear or see fit during the music, guided improvisation uses some rules to limited the sounds and directions so the composer can get the sound and feeling he is after. Standard Jazz music could be considered guide improvisation, but the “rules” in Concerto for Musician are different then the rules of Jazz music. Some of the techniques used in this work are based on Larry Ochs’ “Radar” techniques. The soloist follows some rules as well, but is basically aloud to do want he/she wants. The soloist is encourage to use extend techniques like multi-phonics (playing more then one note at a time) and sounds on the instruments that are appropriate to the movement. The SFCCO premiered this piece (Program Notes) on May 9th, this performance would not be possible if it was not for the Subito grant I was awarded from the American Composers Forum.

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