Next piece: Wind Quintet 2

Berlin Philharmonic Wind Quintet

Berlin Philharmonic Wind Quintet

 

Yes, I’m forging ahead!

Why? Because I know that as I improve my composition skills (the purpose of this entire project) I am learning how instruments sound and work together and I will be wanting to compose for larger combinations of instruments, such as a full orchestra. Writing such a piece will take a lot more time. If I can get ahead in the project now, it will allow some flexibility for taking longer on the bigger pieces.

For example, this next piece is a Wind Quintet. That’s the standard combination of woodwind instruments (plus French Horn) found in most Western ensembles – flute, oboe, clarinet and bassoon. However, in this piece the five performers are required to play a total of 11 instruments.

Huh?

There is something in the music world known as ‘doubling’. This is when a performer can play more than one instrument, usually related to their main instrument. For example, a flute player may also play the piccolo, or the alto flute. A bassoon player may also play the deep, funky contrabassoon.

So, in my composition “Wind Quintet 2” each of the woodwind performers are asked to play their most common ‘doubling’ instruments at some point. Only the French Horn is the stabilizing timbre (or, tonal quality).

Now, about the music…

 

Click here to get your copy of the score and parts

It is based on Psalm 91, one of six categorized as a Confession of Trust according to Matt Baker (accessed April 13, 2013).

Again, I’ve structured the music around the structure of the psalm, which provided an engaging framework to work with:

According to the Longman and Garland expository commentary, the structure is as follows:

  • A – Invitation to the Protection of God
  • B – Forms of protection (there are 5)
  • A’ – Another invitation to the Protection of God
  • B’ – More forms of protection (there are 3)
  • C – The oracle of Salvation

Do you know what that means to me? Theme and Variations! Like this:

  • Theme
  • Variation 1
  • Variation 2
  • Variation 3
  • Variation 4
  • Variation 5
  • Theme
  • Variation 6
  • Variation 7
  • Variation 8
  • Embellished Theme

Excellent!

Oh, one more musical point:

Part of verse 2 of the psalm reads:

My refuge and my fortress: my God; in whom I trust

The last verse of the Oracle, or Edict, is this text, which I have altered ever so slightly:

With long life I will satisfy

I’ll show him my salvation.

So the musical theme (or, melody) is actually based on these words combined –  you could almost use them to sing along with the theme!

I’m sure there’s an official Compositional Device or term for doing that, but at this point that doesn’t matter. What matters is the fact that such a technique exists, works, and it is in this piece.

 

Next Piece: A Brass Mirror

According to the countdown clock on this page there are now LESS than seven years for me to complete the whole project (click here to find out what the project is all about). All is well, though – I seem to be on track. Already I’ve completed two compositions in this massively huge project, and here’s the latest one:

 

This piece is based on Psalm 143, which is one of the many Lament psalms (58 in all). It has a clear structure, thanks to Longman & Garland’s commentary, and that made constructing the piece very simple. It starts with an introduction, then to a conversational Prayer requesting righteous thinking and behavior (let’s call that Section A), followed by an actual hymn-like Lament (B) – a time when the author recognized his own mistakes and sinfulness. Then the psalmist petitions for help (a variation of Section B) and finally returns to another prayer for righteousness (a slight variation of Section A again). I then closed the piece with a shortened reprise of the introduction.

Conductor Composer Maestro Stephen P Brown composes a piece for brass trio based on psalm 143 with an ABBA structureSeveral times I toyed with the idea of writing in the style of a disco beat, purely based on the structure above (A, B, B, A) but decided against it 😉 Instead, the piece is traditionally harmonic with a few Russian romantic twists and turns, but nothing harmful and not quite Stravinskian or minimalist.

What I do find interesting is the instrumentation. I wanted to tackle the brass section of the orchestra as it’s something I’ve not done since college. My friend James Stretton shared some thoughts and advice, and I wrote the piece for brass trio: horn, trombone and tuba. I think it’s a wonderful combination and with the right players, instruments and tonal quality, will sound mellow yet weighty. Love it. Thanks, Jim!

I dedicated the piece to him, but also wanted to acknowledge those folk in my life who helped me understand the horn, trombone and tuba (whether they know it or not), so I listed their names in the score, too. Thank you, folks. Perhaps you had a bigger impact on me than I’ve let on to date.

Anyway, I hope you enjoy this piece. If you’d like a copy of the score and parts, you can get it for free for one week only at the link below. Be sure to share this post around, especially if you have any brass players following/friending you!

https://www.stephenpbrown.com/compositions/a-brass-mirror/