This piece is based on Psalm 102 and although it does not follow a similar structure (the focus of this piece was the structure called “Sonata Form“) I did use the content of the psalm to influence the music.
For example, there seem to be two primary themes running throughout the psalm:
“Is” and “Is not”
“Meaning” and “Meaninglessness”
“Metaphor” and “Cause”
“Tangible” (skin, bones, heart) and “Fleeting” (shadows, smoke)
These contrasting ideas helped me create the main and secondary themes: A bustling, fun, busy, strong, emphatic, semi-tangible tune followed by a melody that seems to be a little hidden, unsure, and somewhat unsettling.
Sonata Form Development
Both themes of the sonata repeat in order to establish them in the your mind, and then the development takes off using both themes as the material. However, towards the end there appears to be the appearance of a third more melancholic theme, but in fact it is just a slight variation of part of one of the main themes… can you tell which one?
Please share this post, especially with any string players, pianists and percussionists you know – it’s an exciting combination, not too difficult to prepare, and will serve as a very appealing addition to someone’s recital. Thanks.
Last night I performed at an awards ceremony. It was a great show directed by a great showman Peter Stark (the former American ballet dancer, not the English conductor).
One of the musical highlights for me was conducting a special arrangement of “Kashmir” made famous by Led Zeppelin, and more recently by the electric string quartet “Escala“. Our arrangement was for full orchestra, rock band, vocal soloist and two choirs – love it.
But also on the programme was a peppy little number I wrote myself – the last movement of my Marimba Concerto 1. I led a performance of the whole piece earlier this week with Glenda Lopez as the soloist, so back when it was suggested we use a shortened version for the awards ceremony, I was thrilled to have it played twice in the same week!
As time went by my paranoia for the little details (or maybe it’s OCD… who knows?) got the better of me and I inquired as to whether or not anyone had checked with Glenda to see if she was also available to perform the second concert. Good job, too – she wasn’t.
A frantic search began to find a marimba soloist. At one point it was suggested “Stephen – you’re a percussionist! Why don’t you play it?!” To me, that’s kind of like asking the cookware frontman George Foreman to box again. Or Nadia Comaneci to balance on the beams again – I’m not convinced she’d achieve another perfect “10” at any modern Olympics.
So the search continued.
But it was proving difficult to find someone – even the local music schools and universities had finished and the majority of marimba students were heading home or off to summer camps before the awards ceremony. So yes, you know where this story is going…
I gave in and said “OK. I’ll do it.”
Unfortunately, during last night’s performance I made some mistakes whilst playing my own composition (not being able to warm-up and driving for several hours not long before probably didn’t help, either). The vast majority of the audience probably didn’t notice: they even cheered during the applause. And almost no-one in that audience had heard the piece before so they were probably not able to determine what was a mistake and what wasn’t. Perhaps the novelty factor of the marimba overshadowed the musical dodginess of the performance?
But the musicians in the audience & orchestra, my peers and several local community experts… Maybe they were being nice in complimenting me afterwards, but it’s not a contemporary piece: it’s a fun, peppy, tonal, predictable little melody, so I’m sure those “in the know” noticed. I’m just pleased I’ve learned how to ‘perform’ well and not let little errors get in the way of the audience’ enjoyment.
(Here’s a computer rendition of what the shortened last movement should sound like)
I felt and still feel awful that a has-been percussionist couldn’t give an outstanding performance, whether or not anyone agrees.
I should have said “no.”
I should not have agreed to play the piece, and worked harder to help find a suitable soloist. Or even changed the repertoire. With either of these two solutions the audience would have been treated to an amazing performance and I would have shined doing what I do best – encouraging other musicians to give THEIR best (i.e. Conducting).
Am I alone?
Do you sometimes make judgments to help out whilst knowing deep inside it’s not the best solution?
Has there been a time you SHOULD have said “no” to doing something?
Please do share your thoughts and experiences in the comments below, where the best action and learning always happens, and then share this post using the buttons below: the more people we have commenting the more we can learn from each other.
Let’s take a break from seeing how a composition is created for a moment, because here’s something really exciting for you.
Hand-painted artwork from Malawi
Over the next couple of months I have three pretty important events (amongst many others) taking place around the USA. All three are featuring new pieces of mine, including the Sonata for Chamber Orchestra we’ve been exploring in this blog, a brand new marimba concerto (in which I’ll attempt to play the solo part – should’ve been a bit kinder, methinks!), my string quartet, my wind quintet, and a cute little ditty called Green Painting based on one of three pictures I bought from a legless (literally) street vendor in Lilongwe, the capital of Malawi (You can hear the piece on my Reverbnation page)
Lots going on, right?
Well, here’s the really exciting part:
My composition Wind Quintet 1 just won a Global Music Award and will be premiered at the Madison Arts Festival in New Jersey on Friday, November 23 at 7:30pm. That’s Thanksgiving weekend, and I’m going to be in town 🙂 Let’s celebrate the Award together!
So, if you are an SPB email subscriber or SPB blog reader then here’s something exclusive for you: meet me at 6pm and lets hang out before the concert at 54 Main St (that’s the name of the bar/ restaurant). And be sure to ask the bar staff for a Schmooze! (It’s a non-alcoholic drink – recipe here). We can then convoy up the street a couple of blocks to the concert venue.
Oh, and there’s a reception after the concert, too, for everyone who attends.
If you’re in NJ that weekend, I look forward to seeing you at the concert. If you’re not in NJ that weekend – hurry up & get your plane tickets! 🙂
The first of my two favorite movements in my latest composition. It also happens to be the last movement actually written. “Downtown.”
There are many downtowns in the Tampa Bay area that could be represented by music: Dunedin could display a Scottish or bagpipe influence – after all, even their high school marching band has pipers! Or we could look to the very edge of Tampa Bay at Tarpon Springs, and include a Greek music influence. Certainly fun. Hoopa!
Clearwater, Tampa itself, Bradenton, Seminole, St Petersburg, Ybor, Egypt Lake-Leto, all have cultural influences from around the world, so the decision became tough. In the end, I decided to simply title the work ‘downtown’ and not make obvious clichéd references to cultures.
The piece is busy. It starts with a piano and marimba duet and the structure grew very quickly from there – an ascending sequence (rising pattern that repeats itself) but with different instrumental colors. A lovely little piano phrase keeps interrupting until eventually, everyone’s gone home.
Or so it seems. A pulsating backbone pervades the area with Tampa Bay’s nightlife preparing for the regular onslaught of visitors and locals alike. Songs burst from every nightclub and many restaurants, and the crowds grow in size and energy.
Unfortunately, like most great nights out that suddenly come to an end, the marimba & piano remind us that it’s time to go back to work. The grand finale of this movement wraps up with a full stop traditional ‘The End’ ending. It’s a fun movement.