After the whirlwind of preparations and performances for the November 2nd concert, I’ve finally returned to writing new music. The end of November was filled with cleaning up my Threnody for Democracy recording, conducting an interview for Music from Humans, and, of course, celebrating Thanksgiving. But as December rolled in, I found myself looking at long-overdue projects and decided to dive into both composing and refining an existing collection.
Revisiting Love Letters
I turned my attention to my Love Letters collection—pieces inspired by deeply personal and romantic themes. This collection contains four piano works and three pieces for various ensembles. I decided to start with the piano compositions, using this project as an opportunity to move them into Dorico while simultaneously writing a new piece to add to the collection.
Transitioning to Dorico
Exporting the piano works from Finale to MusicXML for import into Dorico went relatively smoothly, though a few issues cropped up: missing pedal marks, odd layout problems, and some quirks with titling. I created custom page templates to maintain a cohesive look across the collection, which streamlined the process. However, there were still elements like custom dynamics (f+) & tempo markings (in tempo) that will require extra effort to replicate.
A New Work: Inspired by Turkey and Greece
For the new piece in this collection, I drew inspiration from my 20th wedding anniversary trip to Turkey and Greece. Written in binary form, the composition reflects the two halves of the journey: the ‘A’ section represents the land and air of Turkey, while the ‘B’ section captures the sea and islands of Greece.
To develop the ‘A’ section, I explored Turkish music, delving into its modes and rhythmic patterns. Two Turkish melodies particularly inspired me. While Turkish modes incorporate microtones, I approximated their flavor using Bb and C# in a melody grounded in A, harmonized with Western-style D harmonic minor.
For the ‘B’ section, I looked to ancient Greek melodies, including one I remembered fondly from my college studies. This section blends E minor with plagal cadences (IV-I) and incorporates whole-tone scales to add a shimmering, fluid quality. These elements evoke the sea and the feeling of island-hopping between the Greek isles.
Shaping the Composition
With these melodies in place, I began sketching out the structure. Listening to Romantic piano works, particularly those by Schumann and Schubert, helped shape the piece’s stylistic direction. Schubert’s Sonata No. 8, for example, provided insight into accompaniment patterns that translated well into the 7/8 rhythms I planned to use. For the ‘B’ section, Debussy and Ravel offered inspiration for a more impressionistic approach, especially in evoking the sensation of water.
Schubert Sonata No. 8‘A’ section
The first ‘A’ section came together quickly, with a main melody, chord progressions, and a contrasting development section where I fragmented the melody into the bass and added flowing runs in the right hand. This section ends with a return to the main melody, setting up a transition to ‘B.’
In the ‘B’ section, I aimed to emulate the gentle rocking of waves with a new accompaniment pattern.
‘B’ Section
The melody in 5/8, takes on a pentatonic quality and I decided to brake it up to evoke the feeling of island-hopping. Whole-tone runs reminiscent of Debussy’s La Mer, add variation and enhance the water imagery.
Refinement and Feedback
As the piece neared completion, I made various refinements, including the transition between the two sections to enhance fluid movement. Drawing inspiration from Hindemith’s Moon, I crafted a passage that bridges the tonal and rhythmic contrasts. In the ‘B’ section, I modified the accompaniment, which initially felt too monotonous, to better convey a sense of movement. I also spent time improving the notation, though I still encountered challenges in getting Dorico to behave exactly as I wanted. To ensure the work remains accessible without sacrificing its expressive intent, I sent drafts to a few pianists for feedback. Their input will be crucial in determining the playability of certain passages.
The Key Dilemma
One challenge I faced was the key relationship between the two sections. Traditional binary forms often start and end in the same key, but my piece features two distinct keys—D for the Turkish section and E for the Greek section. While I feel these keys best suit their respective melodies color, I’m experimenting with ways to unify them, possibly through a shared key center, which will require reworking the transition.
A Journey Close to Completion
The piece is nearly finished. Once I finalize the key structure and incorporate feedback from the pianists, I’ll polish the notation and call it complete. This composition represents a blend of cultural influences and personal memories, and I’m excited to see it take its place in the Love Letters collection.
As I wrap up this project, my next steps include continuing the process of transferring other pieces in the collection into Dorico. Beyond that, I’m eager to return to my Solo Circle Music series, which I have only completed, Aureole so far. For now, it feels great to be writing again.
After the November 2nd concert, I’ve finally had a chance to decompress—not only from the performance itself but also from the intensive preparation leading up to it and the lingering disappointment of the election. This concert required an enormous amount of effort, not just as a composer and performer but also in my role as an organizer. From hiring musicians to managing promotions and creating the program, I wore many hats in making this event happen. Thankfully, my wife took on the box office and concessions, but there were plenty of hurdles to overcome along the way, especially with personnel changes and last-minute adjustments.
Personnel Hurdles and Replacements
The concert prep began months ago, and the challenges started early. Through a Facebook post, I discovered that our regular violinist—who also coordinated our venue—had accepted a gig in Nicaragua as a featured soloist. It was a wonderful opportunity for him, but it left us scrambling to find a replacement and manage the venue logistics. While he assured us that the venue was secured and even covered the deposit, finding an excellent replacement violinist took longer than expected, only coming through as we were about to distribute parts.
Soon after, I discovered that our usual trombonist was unavailable. I spent considerable time searching for a substitute, and while I initially found someone, he quickly became unresponsive. Back on the hunt, I reached out to another contact, who finally introduced me to a reliable trombonist—but this was already a week after the parts had been sent out.
Just as I thought things were stabilizing, I received word from our trumpet player that he required surgery and would be unable to perform. With only a week until the first rehearsal, I scrambled to find substitutes. The list of possible subs he provided was booked solid, and after some intense searching, I found a replacement. However, this left the player with very little time to prepare.
Venue Complications and Scheduling Woes
Amidst these personnel changes, we also encountered unexpected complications with the venue. One of our members who lives nearby agreed to help manage the logistics, and as he worked with the venue, it became clear there were gaps in the scheduling. The original booking didn’t include enough time for loading equipment before the rehearsal start time, and it turned out that the venue had undercharged us in the initial quote. Resolving these issues ended up costing about 40% more than anticipated, though we were fortunate that the group’s fundraising efforts covered these extra costs.
This venue holds nostalgic value, as the SFCCO hasn’t performed here in 20 years. However, it’s in a busy part of town with limited parking. I arrived early to handle logistics, including setting up the PA system for my piece, which features a digital “tape” component. Adding to the pressure, several performers, including our conductor, were delayed due to traffic, so I took on conducting for the first part of the rehearsal to make the most of our time.
First rehearsals are always a bit rough, but this one was especially challenging. It was clear that several performers hadn’t reviewed their music in advance, which was particularly necessary given the complexity of the pieces on this program. We send parts out a month early to give performers time to familiarize themselves with the music and contact composers with any questions. Unfortunately, the lack of preparation among some players impacted the productivity of the rehearsal, and my own piece lost valuable rehearsal time.
Revisions and Adjustments Between Rehearsals
After the first rehearsal, it was evident that some pieces, including my own, needed adjustments. I revised several parts to make them more manageable based on feedback from the musicians. For example, I adjusted my own part in the fast-paced second movement to add more breathing space. I also noticed a copy-paste error in the bassoon and piano parts and corrected it.
The movement begins with pizzicato in the cello and bass, which players mentioned was difficult to perform with the bow in hand. There wasn’t enough time to set down the bow and pick it back up, so I explored ways to simplify their parts to accommodate this. Later, the bassist reached out, mentioning that some of the fast runs were challenging at the tempo. I initially thought using open strings would help, but ultimately decided to simplify the bass line to a single note and transferred the run to the cello part. After checking with the cellist, who confirmed it was playable, we went forward with this new version.
Cello & Bass OriginalCello & Bass Revised
To ensure a balanced dynamic between the digital tape and the live orchestra, I remixed the tape. This adjustment allowed for better alignment between the full orchestral sections and the recorded segments, which was crucial given that we didn’t have an extra person to adjust levels in real-time.
Last-Minute Substitutions and Concert Day Chaos
The day of the second rehearsal brought yet another surprise: an hour before our rehearsal I got an email that our oboist had fallen ill. Desperate for a replacement, I emailed his list of possible subs and began arranging a new version of my piece that would work without an oboe, just in case. None of the subs were available, so I turned to Facebook as a last resort. Thankfully, a local oboist saw my post and stepped in, agreeing to essentially sight-read the concert with just one rehearsal under his belt. I was immensely grateful that our new trumpet player vouched for him and encouraged him to join us on short notice.
On concert day, several other events in the area caused more logistical headaches. Despite a heads-up to the ensemble, some players still missed portions of the final rehearsal due to parking issues. With a lineup of challenging, newly composed pieces, having them under-rehearsed inevitably impacted the concert. Yet, the audience enjoyed the performance, and the composers were largely pleased with how their works came together under the circumstances.
My own piece held up well, aligning closely with the digital tape, though more rehearsal time would have helped. I’m looking forward to reviewing the concert recording and video to gain a fuller sense of how it all came together on stage.
Reflecting on the Experience
Every concert brings its own set of challenges, but this one seemed uniquely full of last-minute twists. Despite all the setbacks, I’m proud of what we accomplished. The concert came together against all odds, and I’m grateful for the dedication of everyone involved. Now that the performance is behind us, I’m finally ready to decompress and, perhaps soon, start thinking about new compositions again.
Lately, I’ve had limited time to work on new compositions, so I decided to focus on something equally necessary—migrating my works from Finale to Dorico. I thought starting with some older, smaller ensemble pieces from my To Prelude Peace collection would be straightforward, but it turned out to be more complicated than expected.
The Challenges of Migration
I started with my Oboe & Bassoon duet, Sudan Lovers Holding Hands, which I had demoed in my Moving From Finale to Dorico YouTube video. This piece was written in an older version of Finale, where I used a workaround for a pickup note by hiding the rest on the first beat of the first measure. This caused problems during the import to Dorico. After updating this in the newer Finale and re-importing, I thought things would go smoothly—but that wasn’t the case.
The next task was fixing the titling. Despite filling in the project information in Finale, none of it carried over to Dorico, meaning I had to reenter everything manually—a frustrating waste of time.
FinaleDorico
I also spent quite a bit of time learning Dorico’s page templates. Although time-consuming, I can now export and reuse these templates for future projects, which will save time in the long run. One major frustration, however, was the overlap of text boxes, which made it tricky to adjust the layout without accidentally selecting the wrong element.
After sorting out the layout, I realized that some of the rhythms weren’t notated as I had originally written, particularly in the meter changes between 3+2+2/8 (7/8) and 2+3+2/8 (7/8). I had to carefully go through the piece and correct several measures. After some effort, I managed to salvage the piece—it may not be publication-ready just yet, but it’s close.
Tackling “Celebration Dance”
Next, I moved on to Celebration Dance, which has two versions—one for string trio and another for woodwinds. The initial import into Dorico was a mess, with overlapping staves and awkward system breaks.
Initial import into Dorico.
After some advice from the Dorico forums, I disabled system and frame breaks, which helped, but the layout remained cramped. Exporting from MuseScore and re-importing into Dorico gave better results. Using my previously created page templates sped up the titling process. I also found Dorico’s Bartók (snap) pizzicato too small, so I resized it, potentially adding it to a custom library later. Applying the same fixes to the woodwind version quickly brought it into shape.
Afterward, I revised the string version by refining the cello part. Originally, I had simplified the bassline to make the double stops more manageable, but I rewrote it to better capture the sound I envisioned, resulting in a new 2024 version.
Fine-Tuning the Sextet
The fourth piece in the collection, a sextet titled The Harmony of Peace, presented its own set of challenges. Even after turning off system and frame breaks, the layout remained cramped and inconsistent across pages. Following advice from the forums, I experimented with Layout Options, specifically adjusting Vertical Spacing and Justification settings, which finally provided a consistent layout.
I also encountered issues with beat groupings in the 7/8 measures. After fixing the groupings between 3+2+2/8 and 2+3+2/8, Dorico would unnecessarily reintroduce the time signature each time. I had to manually delete these excess time signatures to resolve the issue.
The first edition of this piece was notated by my publisher in Finale, but it contained printing errors, including missing notes and beats. As I only received the first edition from the publisher, I had to track down and correct those mistakes. I should double-check the original score, which was created in an old DOS notation program before Finale, to ensure everything is accurate.
One of the biggest challenges was getting the fermatas to appear correctly at the end of the piece. Although I eventually got them working, I’m not entirely sure how—I stumbled on the solution by accident. By the next piece, I figured out what I had done.
Revisiting Morning Call to Prayer
Finally, I tackled the solo trombone piece Morning Call to Prayer, knowing it would be tricky due to the microtones and my desire to restore the original box notation that my publisher had changed. The import from Finale was rough, with old custom glissando notations causing issues.
Custom glissando causing issues.
After removing these, things started to look better. One annoyance with Dorico is that elements only appear correctly in Engrave mode, whereas in Galley view in Write mode, they are misaligned above the staff, which was frustrating.
Engrave modeGalley view in Write mode
One of the biggest challenges was getting the fermatas to appear properly. After a lot of trial and error, I discovered that Dorico doesn’t allow a breath mark and a fermata on the same note, unlike Finale. After deleting the breath mark, the fermata appeared, and I used the rhythmic grid to re-add the breath mark on the last 16th note space. Problem solved.
Restoring the microtones was another challenge. I followed the manual but still couldn’t get them to appear. After consulting the forums, I learned that the tonality system must be set before inputting the atonal key signature. Once I did this, the microtones worked, though I still think it would be more intuitive to add microtones directly as accidentals. Maybe this method supports some hybrid key signature with microtones, though I’ve never seen that in practice.
I also struggled with getting the glissandi (portamentos) back the way I had them. I ultimately had to compromise by placing the text above the line instead of below as I had originally wanted.
FinaleDorico
Despite these frustrations, I’m glad to have saved the piece, though I still plan to rework it into its original box notation version later on.
The Journey Continues
This process of transferring my music from Finale to Dorico has been more challenging than expected. I’ve now saved four compositions, but many more await. It’s a long road, but I’m relieved to know that these pieces are being revived, updated, and prepared for future performances. There’s still much to do, but I’m ready to take it on, one score at a time.
SHADOWS and HOPE: Echoes of Democracy and Resilience
The past few weeks have been filled with intensive preparations for the upcoming concert on November 2nd. Mornings have been dedicated to practicing and mastering all the parts as a performer. Alongside this, I’ve been working on promoting the event—sending out emails to newspapers and radio stations, creating online concert announcements, and organizing ads.
Personnel Challenges and Last-Minute Adjustments
As with any production, unexpected challenges have arisen. I had to replace two players: one due to a last-minute surgery, and another who took the gig but then ghosted us. Rather than risk a potential no-show, I decided it was better to bring in someone more reliable. These last-minute personnel changes are always time-consuming, but necessary for ensuring the performance goes smoothly.
I also spent time working closely with one of the composers to refine their piece, ensuring that it was notated clearly and aligned with the conductor’s beat patterns. Inconsistent beaming had some musicians counting in 3+2+3/4, while others were reading in 3+4+3+3+3/16, which would have caused chaos during rehearsals. Notation needs to be clean, clear, and in sync with the conductor—especially when the piece is marked in 4/4.
Revising My Own Parts
As always, preparing for a concert involves refining your own work as well. I made several small adjustments to my own parts—correcting mistakes, adding dynamics, and clarifying phrasing to make things easier for the performers. I’m incredibly grateful to the musicians for their keen eyes and helpful feedback. It’s common to encounter small issues when a piece is being performed for the first time, but the more you can address these before rehearsals, the more time you have to focus on the music itself.
The Value of Feedback
One of the key lessons I’ve learned over the years is the importance of staying open to feedback. You don’t always have to implement every suggestion, but taking the time to listen and engage with performers often improves clarity and leads to a better performance. At the end of the day, music is a collaborative art form, and incorporating feedback can be the difference between a good performance and a great one.
The past few weeks have been filled with intense preparation for the November 2 premiere of my digital “tape” and orchestra piece. Collaboration is key at this stage, I started out by sending draft parts to performers to ensure playability and clarity of modern techniques. The feedback from musicians has been invaluable, particularly for the piano part, which needed revisions to better accommodate realistic performance demands, not all pianists are Franz Liszt. It’s essential to ensure that everything can be performed smoothly, and I’m fortunate to have such skilled musicians to help refine the piece.
Precision and Rhythmic Adjustments
With limited rehearsals before the performance, it’s essential that the score and parts are clearly notated to ensure smooth rehearsals. I’ve been meticulously reviewing the score, ensuring rhythms align with the conductor’s beat pattern, and all dynamics, rehearsal markers, and cues are in place. For better readability, I re-notated some sections using stemlets (extended beaming over rests).
Additionally, I’ve prepared program and performance notes to guide both the musicians and the audience, ensuring a cohesive interpretation throughout the performance.
Fine-Tuning Parts
Although notation software automatically generates parts, you frequently need to adjust them for readability and ease of performance. A lot of effort goes into laying out everything clearly on the page and ensuring smooth page turns, which was particularly challenging for the piano part. In this case, the pianist will likely need a page-turner. However, with more musicians using digital displays and foot pedals to turn pages, this issue is becoming less critical than it once was.
Digital “Tape” Synchronization
In addition to the score revisions, I created a video with the digital “tape” part for the conductor. This video counts out the beats, displays measure numbers, and includes rehearsal markers to help synchronize the orchestra with the digital “tape”. After sending a draft to the conductor, I’m awaiting further feedback to ensure everything runs smoothly during rehearsals.
Example of Video
Printing and Logistics
Yesterday, I had the score printed—90 pages at 11”x17”—and it cost around $60. Soon, I’ll be mailing it to the conductor. Thankfully, individual parts can be delivered electronically, saving time and costs. Managing the orchestra has been challenging, with last-minute changes in musicians and composers, requiring hours of reviewing scores, phone calls, and emails. Despite the time-consuming logistics, replacements have been found, and things are finally falling into place.
Looking Ahead
The digital “tape” still needs mastering, but I feel I still have time to address final tweaks leading up to the first rehearsal. I will need to start testing the equipment for the “tape” playback, including my PA and Mackie HR 824 reference monitors. I’m eager to see how everything comes together in performance.
This composition has been a long journey, and I’m excited to finally see it take shape. After much deliberation, I’ve settled on a title: Threnody for Democracy: What You Can Do. With only weeks to go until the premiere, it’s thrilling to watch this work move closer to its debut.
In this special follow-up episode of “Music from Humans,” we delve into the challenges and intricacies faced by composers when transitioning between music notation software. It is recommended you watch “Moving From Finale to Dorico or MuseScore” first. With the recent announcement that Finale will no longer be supported, many composers, including our host, are forced to migrate their work to other platforms such as Sibelius.
Join me as I explore a personal journey from using Finale, a tool relied upon since the late ’80s, to adapting to new environments. This episode isn’t a tutorial but a real-time exploration of what it takes to transfer compositions across different software. We’ll tackle the warnings about Sibelius from other composers and the technical hurdles.
I will share my firsthand experiences with Sibelius, highlighting both the possibilities and the challenges of these tools. Whether it’s dealing with file compatibility issues, learning new interfaces, or ensuring that complex musical notations are preserved, this episode covers it all.
👉 Tune in to learn more about preserving the integrity of musical compositions during software transitions, and discover tips on how to choose the right tools for your creative process.
Subscribe to “Music from Humans” for more behind-the-scenes looks at the lives and workflows of musicians and composers!
In this special episode of “Music from Humans,” we delve into the challenges and intricacies faced by composers when transitioning between music notation software. With the recent announcement that Finale will no longer be supported, many composers, including our host, are forced to migrate their work to other platforms such as MuseScore and Dorico.
Join me as I explore a personal journey from using Finale, a tool relied upon since the late ’80s, to adapting to new environments. This episode isn’t a tutorial but a real-time exploration of what it takes to transfer compositions across different software. We’ll tackle the technical hurdles, from installation woes to adapting modern notation practices in new systems.
I will share my firsthand experiences with MuseScore and Dorico, highlighting both the possibilities and the challenges of these tools. Whether it’s dealing with file compatibility issues, learning new interfaces, or ensuring that complex musical notations are preserved, this episode covers it all.
👉 Tune in to learn more about preserving the integrity of musical compositions during software transitions, and discover tips on how to choose the right tools for your creative process.
Subscribe to “Music from Humans” for more behind-the-scenes looks at the lives and workflows of musicians and composers!
The last two weeks have been a mix of both highs and lows. On the positive side, I made good progress with my “tape” and orchestra piece after finishing the coda. I revisited the 16-bar transition and introduced a variation on material from the Confronting Our Shadows section. The shift back to 4/4 allowed for a gradual transition in the bass from eighth notes to half notes, giving the feeling of slowing down to prepare for The Dawn of Hope. Interestingly, as the bass slows, the timpani part speeds up because it stays synced with the tape.
Final 16 bars.
Polishing and Refining
Since then, I’ve been in refinement mode, revisiting a section around measure 236 that never quite felt right. A few orchestration tweaks have made it flow better, and I adjusted some notes in the brass choir to improve its flow. While these were small changes, they’ve made a noticeable difference, and I’m starting to feel satisfied with the result—although I’ll need a few more listens to be sure.
There has also been a focus on preparing the score for the conductor. I’ve drafted a video to assist with syncing the tape, showing beats, measures, and rehearsal numbers to keep everything in line during rehearsals. Though I haven’t settled 100% on the title, the score is shaping up well, as are the individual parts.
Considering Changes (and Constraints)
I’ve considered adding more percussion in a few places, but the orchestra performing the premiere can’t accommodate that, so I’m holding off for now. The tape part still needs mastering, but I have more time for that compared to getting the score and parts ready for the early October deadline. After a year of work, it’s amazing to see this piece come together, and I’m eager for the premiere in November.
Software Challenges: A Finale Farewell
Now for the less exciting news: Finale, the music software I’ve used for over 30 years, is no longer supported. This was a major blow, as I’ve written all my music in Finale and rely on it extensively, even for note-taking. It reminds me of my struggle to save Dr. Mark Alburger music that was lost because Encore became obsolete, and it’s created a sense of panic for me.
The past two weeks, I’ve tested Dorico and MuseScore 4, hoping to find a replacement that supports my style and needs. Importing my latest solo flute piece didn’t go smoothly in either program. On first pass MuseScore came closest to what I wanted. After spending time in forums, getting private help, and experimenting, I finally discovered two ways to make Dorico work for this score. However, importing some of my other pieces produced mixed results—some with errors, others with missing notes. I’ll be doing a post or video specifically on all of this experience.
Looking Ahead
At this stage, I’m feeling an overwhelming sense of frustration. It seems like I’ll need to manually re-enter my catalog into these new programs, as the imports aren’t reliable. It’s a daunting task, and I can’t help but wish I had a team of interns to help.
Stay tuned for more updates on this evolving situation and, of course, on the final stages of my “tape” and orchestra composition.
After returning from the Aspen Composer’s Conference and releasing another episode of Music from Humans, I finally got back to my tape and orchestra piece, energized by the progress I had made in developing the chords for the Dawn of Hope section.
Orchestration and Melodic Development
I began by layering additional melodies into the orchestration, some of which were adjusted to fit the chord structure. Starting with the strings, I added more upward-moving lines and reprised the introductory “You Can Do Anything” melody in the alto sax.
Next, I shifted focus to a piano-forward version of the chords, supported by strings. The “Have Mercy Upon Us” melody reappears in the clarinet, while the woodwinds reintroduce the “What You Can Do” theme and eventually take over the chords from the piano.
As the brass gained prominence, I brought back a rhythm from the piece’s beginning, which I plan to use later as well. One of my favorite moments occurs here: the trombone glissandos downward just as Obama says the word “change.”
Brass.
The strings return in full force, carrying the chords while the French horn reprises the “Grant Us Peace” melody. After a brief moment where the tape repeats the word “hope” and the timpani joins in, I introduce an ostinato with the Dies Irae theme, reminiscent of the bassline from the piece’s opening. The chords are now distributed among the woodwinds, brass, and strings. Triplets start to create a 3-against-2 pattern, similar to the beginning, setting up Reagan’s quote in the tape that’s about to be introduced. In the final bars of the “Dawn of Hope” section, the timpani plays alternating 5-1 and 1-5 hits, perfectly synchronized with the tape, where a different quote begins every two beats.
Ostinato to First Reagan Quote.
Building the Coda
Moving into the coda, I revisited a rhythmic theme introduced by the brass earlier. As some instruments hold an A, others start moving up chromatically with staggered entrances. The pace quickens, not by increasing the tempo but by shifting the rhythms from eighth notes to triplets, then to sixteenth notes, and finally to triplet sixteenths. This choice kept the beat consistent, making it easier to sync with the tape. The woodwinds play up a Mixolydian scale, moving up a half step each time they repeat while gradually accelerating. Using box notation the violins bow up and down a chord, glissandoing upward while going sul ponticello—a technique borrowed from Caroline Shaw’s Plan & Elevation (yes, score study helps).
The tension culminates as the lower instruments move down chromatically in eighth notes until a grand pause (G.P.). I’m thrilled with how this all came together on the first try, perfectly matching my original vision from months ago.
Completing the Tape
With the orchestral part of the coda complete, I turned my attention back to finishing the tape part. I had delayed this until the orchestral section was figured out, and it turned out to be a fortunate decision. New presidential quotes had become available, adding depth to the composition’s narrative arc. As before, a happy little accident occurred where I was storing a quote near the end of the piece for later use, but when I played it back to check my progress, it became a profound statement. I’m likely going to leave it in, though I’ll keep the details a surprise for now.
End of Coda.
Next Steps
With the first draft nearly complete, I’m turning back to the 16 bars of transition that remain unfinished. There are still plenty of notes and revisions to address, and the tape part requires final mixing and mastering. The piece is very close to completion, just in time for its scheduled performance on November 2nd. After almost a year of work, it’s incredibly satisfying to see my ideas finally taking shape. Perhaps just one more month of refinement is all that’s needed.
Stay tuned for more updates as I finalize this composition!
In this post, I’m going to walk you through my experience attending the Aspen Composers Conference in 2024. Hopefully, this will help you decide if it’s an event worth your time and money.
Why I Attended
My main goals for attending were:
Networking: Meet a lot of new composers. I’m always on the lookout for new composers to feature on my show.
Trendspotting: I wanted to see what’s currently trending in the world of composition beyond my usual circles.
Learning: Gain some insight in composing, I didn’t know. My talk aimed to share insights about circle music and to persuade others to explore this unique musical form.
The Application Process
I applied rather late—at the end of June—and was accepted to present at the beginning of July, just a month before the conference. This meant I had to scramble to book a plane ticket and find accommodation at an affordable rate. Aspen is notorious for its high prices, even more so than the Bay Area. After some searching, I landed on the St. Moritz Lodge, where I secured a room with a shared bath (Hostel) for $175 per night. If anyone knows of a more budget-friendly option, I’d love to hear about it.
Preparing for the Conference
I had some concerns about the setup for my presentation. At my local SF composer meetups, we usually just plug in a device to a projector and go. Initially, I was told there wouldn’t be a projector, which felt outdated. Luckily, closer to the event, I was informed that a projector would be available after all—much to my relief. Another aspect of the conference included a recital after the talks. Since piano is not an instrument I perform on, I decided to bring my flute, which is more travel-friendly, and composed a new piece specifically for the event. So, my July was packed with preparing my talk, creating a slideshow, and writing a new composition.
The Friday before the conference, I received an email with the talk schedule and the name of the building where it would take place, but oddly, no address was provided. Additionally, there was no information about the recital scheduled for that evening. I have to admit, I was expecting more detailed communication, especially for a national conference. When I coordinate my orchestra, I make sure to provide comprehensive details in my emails, so this lack of information was surprising.
Arriving in Aspen
I arrived in Aspen on Sunday evening. Transportation from the airport to my hotel, only about five miles away, was a bit tricky. Ridesharing options seemed limited, but I was able to share a taxi with another solo traveler, though it still cost me $25. I got to the hotel just in time before the front desk closed, which was fortunate as I had some questions about local dining options. They also kindly lent me an umbrella, which was much appreciated as it was raining.
Aspen is a charming but pricey town. I grabbed dinner at a local spot recommended by the hotel, Mi Chola, where I had a memorable Colorado beer and a burrito—though I was shocked by the $39 bill. Aspen’s food scene is definitely on the expensive side, and I might have been able to find more affordable options had I known where to look.
The night was a bit rough as my room was quite warm with no air conditioning, and being used to cooler Bay Area temperatures, I struggled to sleep in the nearly 80-degree heat, even with the window open.
The Conference Day
The next morning, after a complimentary breakfast at the hotel, I used Google Maps to find my way to the Red Brick Center. I managed to enter through a back door and wandered around bit before finding the right place. Upon arrival, I quickly realized the event was much smaller than anticipated. I was told to expect 20-25 composers, but it turned out to be just the presenters and a few significant others—around 10 people, which is close to the attendance at my local monthly composer meetups.
The Talks
I eagerly anticipated Dr. Smee Wong‘s opening talk, Mosaic Miniature: A Compsition for Chinese and Western Instruments, given my keen interest in Chinese instruments and music. The presentation exceeded my expectations. Dr. Wong was commissioned to compose a piece for both Western and Chinese instruments, he decided to create two distinct ensembles. While both ensembles incorporated a blend of Western and Chinese instruments, one was uniquely tuned to explore microtones. This work stood out as one of the more experimental pieces presented at the conference. Although it won’t be performed until next year, I’m excited to hear it.
Dr. Cory Field, who as it turns out, knows the composer who inspired my talk, presented his own session titled Poems as Life Story Libretti. The talk was so rich in content that he nearly ran out of time. Field focused on two of his song cycles: one dedicated to Benjamin Britten and the other based on poems by Countee Cullen, a poet I hadn’t encountered before.
He spent considerable time detailing Britten’s life, which, while informative, didn’t provide much new information for me. When he finally discussed his piece, he had to rush through it somewhat, but the initial sections of the music made me feel as if I were listening to Britten himself. The music effectively mirrored the qualities of the subject.
I was particularly interested in the second song cycle because Cullen was a new discovery for me. The music in this cycle, like this other, was very traditional and quasi-romantic. I believe these pieces would be ideal for ensembles hesitant to explore modern music, as they blend seamlessly with works from a century ago.
Dr. Robert Strobel‘s talk on What I Learned After Interviewing Musicians was another session that aligned with my reasons for attending the conference, and I was eager to hear it. The talk offered some valuable insights, particularly regarding composition competitions. Strobel highlighted that the best piece is not always the one selected and explored various reasons behind this. Personally, I’ve never been a fan of these competitions, as the rewards rarely justify the effort invested in composing, and there’s always a risk that the judges may not appreciate your style. I prefer to create my own opportunities and opportunities for others, rather than relying on being chosen like the aliens in Toy Story—”The claw!”
While Strobel’s talk contained some useful points, it was somewhat hindered by being read verbatim, which made it a bit harder to follow and less engaging than it might have been.
The next talk felt somewhat like a college presentation, as it focused on the work of a different composer rather than the speaker’s own. Yu Han performed Russell Pinkston’s Tail Spin and shared insights she gained from both studying the piece with Pinkston and performing it. While the information was valuable, I personally would have preferred to hear more about her own compositions.
At lunchtime, I headed down the hill to explore some nearby restaurants. Along the way, I ran into Smee, and we decided to have lunch together at a Thai restaurant. It was a pleasure to chat with him and learn more about his work. I wish more composers had gathered for meals; it would have been great to share ideas and insights with each other.
The first talk after lunch was Trickster Themes in two Operas by Anthony Davis by Dr. Jon Forshee, was one I was particularly looking forward to, given my admiration for Anthony Davis’s music. However, I was concerned it might resemble a college presentation. While the talk did delve into how to find elements that deviate from traditional narratives or describe music in culturally appropriate ways, it unfortunately didn’t cover much about Davis’s work itself.
Jon also discussed Éliane Radigue who created all their music using a ARP 2500modular synthesizer. Jon employed spectral analysis, compressing Radigue music into shorter time frames to analyze the music’s structure. I found this approach intriguing, but it didn’t directly address the process behind creating the music itself. I believe theory should align with how music is composed rather than imposing pre-existing theories on it, boo Schenkerian analysis.
My talk, unfortunately, encountered some technical issues. I’m accustomed to using my USB-C to HDMI adapter to quickly connect my iPad to a projector or TV and be ready to go. However, the setup for this presentation was different. Dr. Forshee kindly lent me his adapter because I had the wrong type, I needed USB-C to Female HDMI. Unfortunately, even with his setup, the audio wouldn’t play through the TV or my iPad. Since I didn’t have a headphone jack for external speakers like everyone else, the audio tracks were not heard. Thankfully, Dr. Forshee stepped in to assist by playing the videos from his laptop. My Hero!
Another issue was that my talk was originally designed as an online paper, intended to be accompanied by extended sections of music. Since I could only play short clips of the circle-music pieces, it was challenging to convey the gradual changes inherent in this type of music. I should have anticipated this limitation.
Additionally, the audience had thinned out by the time of my talk, resulting in a smaller group of listeners. However, if you’re interested, you can read the full talk and listen to the complete music on my website.
Giving My Talk
The next talk was one I was particularly excited about, titled Fantastic Creatures of the Mountains and Seas by Yangfan Xu. I initially thought the work was based on the Chinese story of the same name, but it turns out it’s inspired by it, with the composer creating her own original story. The piece is reminiscent of works like Peter and the Wolf and Carnival of the Animals, featuring a narrator who tells the story, with each magical creature represented by its own section or movement.
I believe this piece could be a hit with orchestras, especially those looking to engage younger audiences. It offers opportunities for imaginative staging, such as having actors dress as the creatures, which could make the experience even more captivating while also introducing elements of Chinese culture. I wish the New Juilliard Ensemble’s performance, which was excellent, were available online for others to enjoy.
The final talk of the day was presented by our host, Natalie Synhaivsky. Unfortunately, it only involved reading a paper about a large-scale opera she recently completed. Without the added engagement of a visual presentation, it was challenging to maintain my focus throughout the talk.
The schedule ran a bit long overall, leaving us with only about an hour before the recital. Those of us performing walked over to the Aspen Community Church to warm up and do a sound check. The piano in the church was quite lovely, and there was also a piano in the basement, allowing two people to warm up simultaneously.
Unfortunately, the recital was poorly attended; only the composers showed up. It seems the event wasn’t advertised alongside the other Aspen Music Festival activities and may not have been announced outside our small group. As a result, we performed for each other, featuring two premieres: one by Cory Field and one by myself.
The recital was recorded, though I’m not sure if I’ll receive a copy. I have to admit, it was a bit warm, and I wasn’t feeling fully engaged during my performance. Although I had practiced seven-minute versions of the piece in my studio, I struggled to find the right groove and decided to cut the performance short. It’s a more experimental work, so I wasn’t certain how it would be received. To my surprise, several attendees complimented my flute playing and piece afterward, which was encouraging.
Playing Aureole: circle of light
The highlight of the day came as we were leaving when one of the composers expressed interest in writing a circle-music piece. This was the primary goal I had hoped to achieve with my talk, so it was a gratifying moment.
Coda: The Journey Home
My return trip was a bit of a disaster. After an early morning takeoff, the plane’s landing gear malfunctioned, and we had to make an emergency landing in Grand Junction. This led to a long day of waiting for a rescue plane, and I didn’t get home until 5:30 PM—much later than planned. The silver lining? The food prices in Grand Junction were much more reasonable!
The Costs
Here’s a breakdown of my expenses for the trip:
Plane tickets: $588.94
Hotel: $389.55
Taxis: $55
Food: $86 ($64 in Aspen, $22 in Grand Junction)
Total: $1,120—definitely not a cheap trip.
Final Thoughts
Whether or not the Aspen Composers Conference is worth attending depends on your goals. If you’re looking to add a conference talk to your résumé, this could be a good fit. However, if your aim is to network with a large number of composers or gain significant exposure, it might fall short. On the other hand, if you’re looking for a more intimate setting with some lovely people and a fun trip, this conference could be perfect for you.
There’s definitely potential here, especially if the conference could integrate more with the broader Aspen Music Festival activities and draw in a larger audience for the recital. Moving the application deadline up would also help out-of-town attendees secure cheaper flights and accommodations.
