A sample of the new concerto

 

British American Conductor Composer Stephen P Brown writes a concerto for bass clarinet and stringsMy next composition isn’t quite ready yet.

But I really like it and want to share it with you NOW.

So, there’s a sample below!

It may seem my 7 year #PsalmQuest has been on hiatus and maybe you even thought I’d given up already.

Well, I was ahead of schedule so after all the Christmas performances I did take some time off over Christmas and New Year to visit lots of people up and down East Coast USA, and then I embarked on my long-awaited Concerto for Bass Clarinet and strings.

It’s almost ready and we all have to be thankful to Calvin Falwell and Diana Hessinger for commissioning this piece upfront, as well as all the bass clarinet players around the world who are signing up for first year rights to perform – it’s very exciting being involved in such a forward-thinking, risk-taking consortium. Thank you!

So, without further ado, click on the video below for a sneak preview:

What do you think? Tell me below… if you dare!

Would you like to be part of the commissioning consortium? It’s very easy: promise to perform it at least once and send us some proof, basically.

Let me know in the comments below if you’re interested and I’ll make sure you and Calvin are connected – he has all the details.

Thanks for listening, and here’s looking forward to the full monty in the next week or two!

Back to Choral Roots

A couple of months ago I was appointed Conductor of the 40+ year old Clearwater Chorus. It’s an ensemble of people who like to sing, and encourages adults of varying ages and abilities to make and share music together.

At least, that’s what it is now.

The Clearwater Chorus

Although not titled a “Director” that is effectively my role and as a result, I’ve grabbed hold of the reins and am guiding the ensemble through a new perspective: who we have and what we do now is what we are, and as long as we work together to share music, we’ll be doing something of value to the world.

[Click here: I’m giving away four tickets to our concert on Dec 22!]

Why is this so new? Because like so many institutions that are founded and/or led by an individual for so long (in this case, Arthur Goetze who directed the group from 1975-2005), its members can become entrenched in “the way things were.” This is also a very typical perspective of older generations, especially those who have worked their whole lives and are now enjoying a few special comforts in retirement: they expect things to stay the way they know them. But that is so rarely beneficial for anyone, and certainly not how the world spins.

So whilst respecting the past and honoring those who have gained far more experience with this ensemble than I ever hope to, it is now time to focus not on what we don’t have but on what we do…

Doesn’t this pertain to life in general?

For example, over the past 12 years I have mourned the loss of an active performing and teaching career founded in music, something I have known to be a primary part of my existence since I was in single digits. My music career after moving to the USA has been patchy, fraught with unconfidence, some expensive decisions, and a distinct lack of industry contacts that don’t label me an outsider.

But this current appointment has, unexpectedly, brought me right back to square one – the roots from which my fascination with music grew.

British American Conductor Composer Stephen P Brown began his musical life as a choir boy in Cuxton Church

The Anglo Saxon village church in Cuxton UK, where I was a choir boy

I was 7 years old when I began playing the piano, but that was after I began singing in my English village church choir. I remember joining the village Junior School choir around the same time, as well, but by the time I had moved to my UK secondary school at age 11, I was fully immersed in singing, piano and clarinet. It wasn’t until just before I moved to the USA the first time that I showed any interest in percussion (and if you know me, it was an incredible 4 years of percussion playing that got me into college at 17 years old! More on that another time, perhaps).

During my college years a budding-conductor buddy of mine, Chris Kiver now a Choral Professor at Penn State University, and I would organize “Scratch” singing sessions in which anyone who wanted to play and sing the repertoire we had planned could do so. Of course we did much recruiting, but giving solo parts to multiple singers throughout each piece enabled them to get much needed experience, and Chris and I to learn many differing needs of accompaniment.

In the years that followed college I conducted various ensembles such as the Ealing Choral Society (thanks to the late great James Gaddarn), the Yalding Choral Society, the Medway Community College Singers, and a whole host of other one-off groups. Four highlights in particular were:

  • Conducting Handel’s complete Messiah with 5 days’ notice when the conductor who was booked fell ill,
  • Conducting a “Marathon Singing Session” in which almost 1,000 teenagers sang hymns, easy listening songs and some chart songs,
  • Conducting the European Premiere of Dawn Mantras (outside, at sunrise) by Australian composer Ross Edwards during the UK’s year-long Millennium Festival in 2000, and
  • Singing for John Rutter at Carnegie Hall in his own composition Magnificat.
British American Conductor Composer sang at Carnegie Hall for John Rutter

Melissa and I hanging out with John Rutter in NYC

In addition, I played timpani or percussion for countless choral societies around the UK in more pieces of music than I can remember – hundreds. And, being a percussionist usually with lots of time not actually playing, I got to listen to conductors rehearse their choirs, listen to the choir members mutter under their breath, and have choir members (usually altos) unsolicitally (?!) share their awe about how anyone could actually play the timpani: “I never knew they had pedals like that!”

Interestingly, only a handful of these choral activities “made the cut” onto my resume, so when most folk read my history of musical performance, they see “instrumental conductor” or even just “music teacher.” It’s quite annoying, really, because although conductors in the UK and Europe are trained to be teachers (hence the general reference to them as “Maestro“) in all genres of “formal” music – orchestral, choral, opera, musicals, some concert/wind band and maybe even ballet – in the USA conductors are labelled at a young age and ‘specialize’ not in leadership or motivation, but as a topical expert in just one of those genres. It’s such a pity.

Of course there are exceptions such as James Levine. Kind of. And the incomparable Leonard Bernstein. But generally, conductors in the USA are rarely recognized as even “capable” of conducting well in more than one musical genre. You can tell when a choral conductor has an orchestra in front of them, and you can tell when an orchestral conductor now has to deal with a choir, too. I’m quite proud of the fact that I was taught and expected to work with both, so now that I’m working with the Clearwater Chorus (this links to our Facebook page – please Like it!), not only do I feel comfortable and confident that I can help produce a good sound, help the singers sing together, and focus on sharing good stories and music with others (including the audience), but it is also bringing me back to my roots in music – as that little angelic Church of England choir boy in my village.

For your entertainment: This is one of my favourite Bernstein performances of showmanship, especially around the 5 minute mark. It’s even more engaging because of the video/ audio mis-synching!

#PsalmQuest 10 – Mirror 2 for solo harp

Writing this piece of music was probably one of the most enjoyable projects I’ve ever done. Perhaps that’s why it turned out to be a good one.

The harp can be a daunting instrument: it is large yet delicate, piano-like but not a piano, strings plucked with four fingers per hand not hammers hit by five fingers.

However, the learning process about harp technique was made considerably easier by Jacqueline Pollauf, who has kindly posted a list of guidelines online.

Anna Kate Mackle, Florida Orchestra

Anna Kate Mackle, Principal Harpist of the Florida Orchestra

But I must admit, I also cheated a little – I asked Anna Kate Mackle, Principal Harpist of the Florida Orchestra, for some input. Back in the mid 80s, Anna Kate and I were both in the New Jersey Youth Symphony and also attended the same summer camp in North Carolina, the Eastern Music Festival. It was such a terrific six weeks of intense music activity that we hardly saw each other, and when I moved back to the UK a few years later we lost touch until I moved to Tampa Bay some 20 years later. (EMF was so good, Anna Kate now teaches there every Summer).

Anyway, Anna Kate enthusiastically shared her perspective on a couple of corners during the creation of Mirror 2 and so I couldn’t resist but dedicate the piece to both her and Jacqueline. I do hope they’ll both find occasions to play the piece at some point (Maybe during next year’s Festival of Psalms).

Perhaps another reason this piece turned out so well is that I have a kind of fondness for the harp. Whilst in college in London I dated a harpist and spent a lot of time carrying and transporting her harp all over London and Kent. She attended the Royal College of Music and I attended Trinity College of Music, but we didn’t let that rivalry get in the way as we were both members of the Kent County Youth Orchestra (upper age limit 21), and my mom & her dad worked together at Kent Music School!

(Come to think of it, I’m pretty sure being a percussionist very used to carting about large and heavy instruments came in pretty handy during that relationship!)

Stephen P Brown has a history with the harpAnyway, in the past month or so I’ve learned a great deal more about the harp than I already knew (such as multiple note harmonics per hand) and tackled this composition with a different kind of energy. As one independent industry reviewer commented, the piece is “beautifully haunting.”

Mirror 2 is based on psalm 38 which is structured in 5 sections, namely A, B, C, then B again and finally A again. To me, that’s a mirror image. I don’t know if there’s a formal musical structure out there that imitates a mirror, but I’m not bothered about that – I’m calling it a Mirror in the same way that many pieces are called Sonata or Rondo based on the music’s structure.

By now you know that my compositions, although currently rooted in a more traditional Russian Romantic idiom, are far from normal. Typically we associate the harp with angels, prettiness, light cotton candy, beautiful sweeps and whooshes, and happy weddings.

So this piece is dark, low, deeply emotional and far from angelic! Each of the five sections of Psalm 38 are about Prayer or Pain. See Longman & Garland’s commentary for more details.

Use the Reverbnation player below to listen to the piece (it starts quietly) and then see if you agree with George’s assessment below. Let me know in the comments what you think.

I’m giving the sheet music for this piece away for free for an entire week, so if you know any harp players, be sure to send them this post using the share buttons below so they can download it and try it out. Both you and I would love to know what they think of it, right?!

Listen here:

Click here to get your copy of the sheet music.

So, do you agree with George?

George Algozzina likes Mirror 2 by Stephen P Brown

George Algozzina is, amongst other things, a tenor in the Clearwater Chorus

“My life has been truly affected and enriched this morning when listening to Stephen’s new song, ‘Mirror 2.’ It was wonderful to awaken and experience an entire day’s worth of feelings and emotions in just a few minutes through a truly amazing and beautiful musical composition. I do not know the emotional reaches or spiritual intentions Stephen has for his piece, but it took me from an ominous (almost hopeless) place…to one of acceptance…and then to one of self-awakening and the chance of peace, tranquility, and hopefulness. Thank you, Stephen, for making a difference in this moment and in my life!”

– George Algozzina

 

Add your own thoughts below…

 

Quest #9 – Perspective

British American Conductor Composer Stephen P Brown writes a composition for bass clarinet and drum kitThis was an odd composition that kind of came out of nowhere, but ended up being the ninth composition in my psalm composition quest.

And it’s a little strange, being written for bass clarinet and drum kit.

Uh-huh.

I met Calvin Falwell recently and during our chat he mentioned a project he and his USF Faculty colleague Robert McCormick were undertaking. I know Robert and was therefore interested.

Vox Novus commission lots of new music from composers for a project called “Fifteen Minutes of Fame.” Composers submit brand new compositions no longer than one minute (60 seconds) and 15 of them are selected and joined together to form one piece of music.

Crazy?! But awesome 🙂

So, after witnessing Calvin’s playing in Joseph Hallman’s Bass Clarinet Concerto last weekend at the University of South Florida, I came home and researched the Vox Novus project. Many hours later, the 1-minute piece is finished and submitted!

Here’s the program note that went with it (maximum 50 words):

“Perspective” was written for Calvin Falwell and Robert McCormick, who play the composer’s own primary instruments: clarinet and percussion. Musical influences come from a variety of sources, including Psalm 14 which is in four sections: Foolishness, God’s perspective, Prophetic perspective, and hope. A Vox Novus commission, it is 59 seconds.

As the closing date isn’t until mid-March and each piece submitted must be original and never performed before, I offer you a computer-generated recording (it’s missing several sound effects in the score), but no sheet music, yet.

Here’s the piece:

Interestingly, this sudden spurt of energy and creativity actually left me with sparse inspiration and incentive during the next day’s scheduled composition session! Beware spurts of creativity! They may drain you for tomorrow… [Click it to tweet it] No matter, onward.

Now it’s your turn:

In the comments below, let me know

  1. Why you like or dislike this composition.
  2. What you think I could have done better.
  3. Which of the other requests should I consider? Click here to see the list.

Highest Chart Position Yet!

Well, I was going to write another “How I compose” post, but this topic topped the chart – literally.

Reverbnation is an online outlet for all unsigned/ independent musicians – any style, any genre, any age, any stage of life. There are currently 2.5m (that’s 2,500,000) performers active on Reverbnation promoting their wares, and guess what…

The Charts

Conductor Composer Stephen P Brown is #3 in the Reverbnation US Classical Music ChartI’m #1 in the Tampa Bay Classical Music Chart!

But,

I’m also #3 in the US Classical Music Chart!!!

AND

I’m #10 in the GLOBAL Classical Music Chart!!!!!!!!!!

Yes, that deserves 10 exclamation marks.

Because of YOU!

This is incredible news, and it’s all down to YOU. Thank you. Thank you for listening to my music, especially at the outset of this huge composition quest.

And if you want to see me get to #1 in the US, or even globally, please do use the social media buttons below to share this great news! Especially on Facebook, Twitter, Digg, Reddit, SumbleUpon, Google+ and LinkedIn. Go on – be generous and SHARE THIS POST!

Or, click it to tweet it:
See latest #classicalmusic chart positions for unsigned independent musician @Stephen_P_Brown 

Thanks, again.

Lots more wonderful original music on its way…

Global chart position

By the way, if your read the chart table above, you’ll notice I’m #1421 globally in ALL GENRES – that means, every style of music. Out of all 2.5m musicians on Reverbnation, this classical musician is #1421! Cool, huh? (Just did a quick calculation: that puts me in the top 0.06% of all independent performers globally!)

You may also be interested to know who is the #1 independent Classical Musician in the US? Well, it’s Jarrod Radnich:

Do you think it might help if I arrange some movie music as opposed to compose original traditional classical? Hmm…

(Or is it the hair?)

Next Piece #7: Bagatelle for Violin

This was a surprise!

In my 7 year composition quest, piece #6 took a little over a month to write. This one took a day. Yes. One day!

Solo violin

It helped that the piece was being written for just one instrument alone, which is a complete contrast to Warrior Peace. Another contrast is the style: actually, I’m not too sure where this style came from but it is clearly a “contemporary” piece. I followed my usual system for composing music based on the psalms (Steps 1 & 2 I’ve already shared with you, and step 3 is coming soon) and after composing the closing melody, decided the piece was going to be too long for a “Bagatelle.”

Bagatelle for violin by Stephen P Brown

A non-musical “Bagatelle” is the pinball machine’s predecessor

I could change the title, or change the piece. The melody survived but the decision was made that the six sections before it would be shortened. Normally I write one chord per bar. In this piece, sometimes that happens but mostly it is one chord per note. And bearing in mind a solo violin often only plays one note at a time, the harmony progresses pretty rapidly!

Psalm 112

This composition is based on psalm 112, a wisdom psalm. It is short but has seven sections. In the end, though, the first and last sections in my piece were swapped – I’d rather begin with a curse and end with a blessing. So, here’s the structure:

  • A – Curse on the longings of the wicked
  • B – Blessings of righteousness
  • C – Blessings in adversity
  • B – Blessings of being gracious and compassionate
  • C – Blessings in adversity
  • B – Blessings in righteousness
  • A – Blessedness of those who delight in wisdom

One commentary (Longman and Garland) titled this psalm “The Triumph for Faith” and another (White) titled it “The Gain of Godliness.” Make of that what you will, but the piece is intentionally short and therefore I titled it “Bagatelle” – not after the board game, mind, but the musical form.

Listen

Listen to a computer rendition here (I’d much rather hear it live, and maybe we will next year):

Click here to get your copy of the score. Please share this post with violin players you know, and perhaps one of them will record it at home for us to post!

And please add your thoughts about this solo violin piece in the comments below (be sure to sign in to Disqus using Facebook, Twitter or your email). Do you like the style/ genre? Do you think it is short or long enough? Does it disturb you or make you think or calm you down? Do share your thoughts:

New psalm composition #6: Warrior Peace

Well, this was an unexpected mammoth!

(If you are not aware of my current composition quest, click here to read the introduction.)

I knew that composing for larger ensembles would take time, and was sort of risking things a little when I decided to write for a larger-than-normal ensemble but I didn’t plan for this piece to take a full month. Think of a chamber orchestra that plays Mozart and Haydn symphonies. Then take away all the string players. That’s what this composition is for! It’s not a standard combination of instruments, so I decided to call it a “Chamber Orchestra Non-Strings” ensemble. Says what it is, right?!

Conductor Composer Stephen P Brown completes composition #6 in his 7 year questThe actual difficulties were not the size of the ensemble, or the tone colours I was exploring. It was not even hard to distribute voices or create strong or interesting textures. Actually, the hardest part was the harmony – the chord progression.

It seems like I would have had as much trouble with this composition if it was for solo cello as for a large ensemble.

This piece is based on Psalm 144. It’s structure (as explained previously) is in six sections with two of them repeated: A B C, A C D. In summary, the story starts out with “bold praise” followed by a reflection on how fleeting life is in the scheme of things. Then there’s a request that God lead the battle and if the pray-er’s side prevails, then the author will sing another song of [bold] praise. Finally, the nerves settle in as there’s another prayerful request that God get involved but the author begins to dream about future possibilities, especially the peaceful joy of living that soothes the people after a warrior (in this case, God) has won a victory.

Stephen P Brown Composition Warrior Peace

Psalm 144 reflects on the peace that follows a warrior’s victory in battle.

I started writing (I’ll explain what that means in my next “How I compose” post) but didn’t like it, so deleted it and started again. And again. And again. Six iterations of section A before I got into a groove. Section B, the fleetingness of life, is hardly fleeting but was very satisfying to write and contains some of my favourite parts of this composition. Section C was fun and as a timpanist, I could not resist basing it on a drum-based warrior-like call-to-arms song (even though the word “drum” does not appear anywhere in the entire Bible! Check out opposing responses to that here and here.)

Section A repeats, then Section C repeats.

The last section, D, also went through several iterations before it eventually settled as a chorale. Chorales are a form of four-part harmony that Bach used a great deal to explore (define and break) some basic rules of composition, including harmony and voice-leading (making each part tuneful, singable, and likable). Most composition students study and experiment using the chorale form but it can also be a beautiful entity unto itself. So the last section begins with solo flute, moves into the chorale proper, and ends with a joyful upbeat melody (that reminds me of the March at the maze scene in Harry Potter IV:)

Anyway, I like this composition. It passed the ‘run-through’ test (forcing my wife to sit through it and give feedback) and so here it is for your listening pleasure:

Click here to get your copy of the score and parts (and give a copy to your local orchestra if you’d like to hear it live!)

Please let me know in the comments below what you think – your feedback is important, helpful, and usually quite fun to read. Thank you!

How I compose: Step 2 – Instrumentation

A couple of weeks ago I shared how I start composing each of the pieces in my composition quest. It seemed to be a popular post!

So after I’ve read the psalm, understood its meaning through commentary, and established the structure for my piece, the next step in composing music for me is choosing the instrumentation.

Instrumentation.

The purpose of this quest is to improve my composing skills. One of my dream goals is to finish the quest by writing a piece of music based on Psalm 33 for large chorus and full orchestra. That’s a lot of people and parts, and like an Olympic Triathlete or Astronaut, there is a ton of preparation. Knowing the insides and out of every instrument, including the human voice, is imperative before tackling a huge opus.

That’s partly why this quest will take 7 years and 150 pieces – writing for solo and small groups of instruments will teach me a great deal about how those combinations work together and how they don’t. Think of Ravel’s “masterpiece” Bolero. Familiar with it? Very popular nowadays but guess what – it was an exercise. Maurice Ravel wrote the piece to learn what different instrumentation combinations would sound like. He never meant it to be a concert hall piece, or a film score! (10, starring Dudley Moore and Bo Derek). Below is a truly awe-inspiring ensemble Blast! performing Bolero:

 

Therefore, for this first year I am selecting mostly small chamber music ensembles for my instrumentation – a wind quintet, a brass quintet, a string quartet, trios, duets, solos. Piece #6 is a little more ambitious as I’m combining both the winds and brass together. In fact, it’s written for “Chamber Orchestra Non-Strings!” Think of a chamber orchestra that plays Mozart or Haydn, and take away all the violins, violas, cellos and double basses. I’m composing for everyone else.

Conductor Composer Maestro Stephen P Brown / Swedish Chamber Orchestra

Swedish Chamber Orchestra

There is lots of string music out there, but not much just for the winds and brass, so hopefully this instrumentation will work and it will become a part of the normal orchestral repertoire.

But for those of you waiting for a large orchestra piece… Sorry! You’re gonna have to wait awhile. At least another year or two.

Right. Time to get back to the music…

Thanks for reading.

 

Piece #5: Rescue Me! for choir

USFchoirThe fifth piece in my composition quest was quite an adventure. Definitely surprising.

Rescue Me, Recover Me” is based on Psalm 130, and the title stems from the term “redeem” which this psalm seems to be all about. It has a simple ABAB structure, so knowing that I wanted to write a choral work I began playing with the translated poem (I don’t read Hebraic) and converting the meaningful words into my own poem with rhyme and meter.

Wonderful!

Except that it looked a lot like the verses and chorus of a song.

Never mind. Onwards.

Well, the piece began and I created a simple progression of chords. I had intended the style to be along the lines of a nice scrunchy choral work similar to those of the contemporary American School such as Eric Whitacre and Randall Thompson, so I spent a lot of time studying 9th & 13th chords which made their way into the third verse and chorus.

As the piece developed, a vocal soloist took the opening verse and by the time I was done, I had written a verse-chorus song for vocalist, 3-part choir (soprano, alto and baritone), piano and bass. In addition, the verses and each time the chorus appeared the harmonies were slightly expanded and therefore the melodies slightly altered, too.

So much for my traditional English Choral work!

I don’t have a choir living in my basement, so the audio recording is actually a computer generated “AH” that represents the vocal parts. Of course, if you happen to have access to a choir and a digital recorder, please feel free to have a go and send me the results!

Have a listen here to get the gist of the piece:

[ca_audio url_mp3=”https://www.stephenpbrown.com/audio/130_RescueMeRecoverMe.mp3″ url_ogg=”” skin=”regular” align=”none”]

Click here to get your copy of the score and lead sheet.

Please pass this blog post around so that others can access the music this week – not only might they enjoy the music, but they may be able to get a choir to record it, too. Thank you. You can use the social media buttons below, or just copy and paste the link above. Emails work just as well.

Add a comment below letting me know what you think of this piece – it will help me determine whether or not to stick with the verse-chorus format or have a go at the more traditional style.

How I compose: Step 1

dna structure musical composition stephen p brown spb

The structure of DNA forms the foundation of physical life. Music also needs a structural foundation.

I am now working on the 6th piece in my composition quest. This is not the first time I’ve composed music but in the past I have approached pieces from a variety of angles: systematically using someone else’s process, systematically using someone else’s process that I adapted slightly, systematically using a process I developed myself (which begs the real question: is there anything brand new, or is everything an adaptation of what we’ve already experienced?) and there were even pieces that I approached system- and process-free; meaning, I just sat and wrote something.

However, in order to accomplish my current task it makes sense to stick with a systematic approach, and each of the 6 pieces that exist in this project so far have been put together starting with its “source structure.”

Step 1: Structure.

You may be aware by now that for a variety of reasons I chose the poems in the Book of Psalms as my inspiration to compose music that will improve my skills. (“Psalm” in English means “Song” so think of the Book of Psalms as an anthology of song lyrics! However, when translating into English most Bibles rightfully focus on the content and meaning of the text and ignore the temptation to maintain any of the original Hebraic meter or rhyme.)

So, I look at my listed of psalms sorted by type and calculated for even distribution, and read the next psalm on the list. For piece #6 it is psalm #144. After a couple of readings I usually sort of get what its about, but to make sure I also read an old narrative text by R.E.O. White (A Christian Handbook to the Psalms) that summarizes the poem and puts it into context alongside other psalms and stories in the Bible.

Next, I carefully look at the overview and detailed analysis as prepared by Longman and Garland in their edition of  the revised (2008) “Expositor’s Bible Commentary” Volume 5, a massive and heavy volume that contains detailed topical, language, structural and historical contexts of every psalm – all 150.

So far I have used the Longman and Garland structural analysis as the foundation for the structure of my compositions. For piece #6 psalm #144 the structure has three main parts with poetic meter and rhyme (in the original Hebrew language) divided up as follows:

  • Section A (Hymn of Praise)
  • Section B (Human Need)
  • Section C (Prayer for God’s involvement)
  • Section A’ (Hymn of Praise)
  • Section B’ (Prayer for God’s involvement)
  • Section C’ (Prayer for Blessing on God’s people.)

Well, I like to keep things consistent only to make my life easier, so based on the section titles above I’m restructuring the structure to: A B C A C D. This will tell me to use the same theme/ melody/ style/ for both sections called “A – Hymn of Praise” and “C – Prayer for God’s Involvement.” Sometimes this is sufficient but these section titles don’t really tell me what the psalm is saying, so I keep a note of what the author is expressing, such as:

  • A – Bold praise
  • B – Fleetingness of life
  • C – Lead the battle
  • A – Promise of wild abandon praise (a new song will be composed!)
  • C – Re-request for deliverance
  • D – The peace and results of winning

And now I have the structure of my musical inspiration.

Next week: either composition #5 will be published (the piece that started out as a traditional choral work but didn’t end up that way) or I’ll share step 2 of how I compose… which would you prefer?