Roots

I normally don’t post something so personal on the internet, but I feel like I must share this piece of me. This post has been roiling in my mind for a solid week. I don’t want sympathy or judgements; I just want eyes and ears.

My father passed away a little over a week ago. He lost his battle with a rare form lymphoma, which he suffered through for 13 months. I spent a good deal of time with him in December. Then, he was a frail, weak man who could barely walk from his apartment to the car. Unfortunately, after aggressive treatments the cancer came back as if no treatments were administered. Ironically, the chemotherapy killed off his immune system and he succumbed to a severe blood infection. The cancer did not kill my father, the “medicine” did.

For reasons beyond my control, we were not very close. This doesn’t make losing a parent any easier. I do wish things were different, but I do hold some great memories of our relationship when I was a small child. This experience has brought me back to my roots. To heal—to mend loose ends—it is helping me to reflect on where I come from.

I was digging through some old photos, photos I haven’t seen in over a decade, and I came across this photo of my dad:

My dad is the “bass fiddle” player when he was either a teenager or in his early 20s. This gave me a lot of comfort. My dad was doing what he loved, and now, I’m doing what I love. This photo brought back memories of when he used to take me to rehearsals of his bluegrass band. These rehearsals were my VERY first musical memories and experiences.

I also remember a time my mother got so angry at my father because he used to let me strum a guitar as he changed chords. She was so angry at him because I formed blistered on all of my little fingers. I remember clearly that I was making music with dad. I didn’t want to stop.. I insisted… which caused blisters to form on my hands the next day. He had me to keep a steady beat in various rhythmic patterns. Regardless of the blisters, I remember how much fun I had.

These early musical memories are the ones I hold very, very dear. My dad could very well be the reason why I am who I am, and responsible for planting the seeds of a lifetime in music.

There are several things I’d like to say to everyone who reads this post. Since this is still very fresh, I have been evaluating things in life that are essential:

1. Do what you love.
2. Don’t hold resentments or prejudices, they make you so very ugly. (Even if your religion gives you the OK to do so)
3. Take care of your body. Do a tiny bit of research of our food system in America, it may change your life for the better. Consider reestablishing your relationship with food.

Just a bit on the last one relating back to my father. When I did visit my dad during the last year, it was like looking into the future. It was like seeing myself with cancer, and it is something I never want to go through. With a little bit of research (AKA watching documentaries on Netflix), I found studies that show a direct link between the American diet and spikes in cancer. Take it or leave it, but with cancer hitting me so close to home (grandfather, father, and first cousin) I am extremely concerned about why this disease is so prevalent. So my plea to you is to dig a little bit into our food system, and I promise you, you will not like what you find. If you’re overweight, reevaluate your choices. Nourish your body with good food and the weight will fly off. If you drink a lot… reevaluate your choices. Smoke?… just stop. I hate to sound preachy, but the very bad food that we are eating is killing us.

I have been eating a high veggie/fruit/grain and very low meat and cheese diet since December (immediately after my last visit with my dad). Needless to say, I trimmed down very quickly (almost 40 pounds) and I feel much better. I love the food I prepare for myself, and the best thing is, I know where most of it comes from. It worked for me and it will for you. Just be aware.

One last thing, I found this baby picture of me with my dad:

Rest in peace, dad. I love you.

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Places Never Painted

It is double bar day!

This morning I finished a piece titled “places never painted” for flute and alto saxophone.  The piece was written for Bill and Lauren Funke and will be premiered at the 2012 Biennial North American Saxophone Alliance (NASA) conference.  If you’re in Tempe, AZ during March 15-18th, check it out!

As several of my pieces, I use poetry as a creative cycle to compose music.  As I develop musical ideas, sometimes I develop poetic ideas to add some referential meaning to the music.  Other times, I’ve written an accompanying poem before, or sometimes after composing the music. However, this time I wrote the music and poem at the same time, the ideas bounced off of each other, affecting the form and flow of each work.

Below is the poem titled “places never painted”

places never painted



there are places never drawn
by small hands,
expert hands,
nor feeble hands
that tremble under the weight of
a dull, short pencil


-never painted with purples and greens
nor outlined by dark earthy powders


-never labeled with a single word
nor dotted with
fresh black ink
on a freckled map


-never cut up/split up
into small fragments,
thinly smeared with viscous glue
and smoothed out
on a pale, stoic wall


-these wild places-
some exist before an eager lens,
only to be captured
and streamed into
infinite zeros and ones

I am loading an incomplete sample score.  Feel free to peruse as you wish:

Places Never Painted Incomplete Sample

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sixth species ensemble

The debut performance of the sixth species ensemble was a success!  I’m looking forward to what next semester has in store for us.  I hope to do some cool new musicy things like themed concerts with lighting effects.

Anyways,

Since Dans les Nuages has been performed in its entirety, I will post it for your listening pleasures:

I. “When We Were Young”


II. “We Shifted”


III. “Cloud Breath”


Air,

please.

It seems all of my projects this semester have culminated at the same time. Five grad school applications are due in a week; a twelve-page paper on the music of Alfred Schnittke is due Friday morning (yes, the day after thanksgiving); I finished recording Particulates for Clarinet and Dans les Nuages; Musique 21 is performing another work of mine next Tuesday night; I have present my research topic next Wednesday; and that night is the debut performance of our new music group, the sixth species ensemble, which I co-founded with Victor Marquez and Tim Patterson.

I’m very excited about all of these things, well, maybe not the paper-writing part. I’m particularly proud of the first concert of the sixth species ensemble; it has been a great semester-long collaboration with some fine MSU musicians.  We set up this group as a performer/composer collective devoted to performing only new works by living composers.  The group is performing my song cycle, Dans les Nuages for baritone, harp, vibraphone, and bass clarinet in its entirety!  The song cycle began as a collaboration between Tim Lane, the curator of (SCENE) Metrospace and myself.  The first two songs have been performed, but I am looking forward to presenting the entire set.

Below is a preview:  Song 1 “When We Were Young” recorded by the sixth species ensemble.


Come check out the rest:

the sixth species ensemble

presents works by: Victor Marquez, Tim Patterson, Mark O’Connor, Phillip Sink, and Louis Andriessen.

Wednesday, November 30, 2011

7:30PM

(SCENE) Metrospace, 110 Charles St., East Lansing, MI

$3 students/ $5 adults

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Good things come to those….

who wait.

Last week, MSU’s Musique 21 premiered my piece titled Nonet, which was written nearly a year ago for a string quartet and wind quintet.

In the summer 2010, I was one of six composers invited to the Chamber Music Institute at University of Nebraska-Lincoln. I collaborated with the Quintessential Winds of Long Beach, CA (see this post) and met the Tetra String Quartet of Phoenix, AZ. This institute was great; I established a long-term working relationship with the wind quintet and the musicians learned the business of becoming professional chamber groups.

While there, the Quintessential Winds and Tetra String Quartet had the idea of touring together and wanted a piece with a string quartet+wind quintet instrumentation. This is where I came in.

I wrote the piece.
It won the 2011 MSU chamber music Honors Competition.
It was granted a performance by Musique 21.
It is waiting for the official premiere.

The funny thing about working with up-and-coming chamber groups is that they start getting awesome gigs, and have to push back premieres of your music. The new date for the official premiere is in March of 2012.
Good things come!

Listen to Nonet:


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“freehand-jot” for Saxophone Quartet


I just received the recording for “freehand-jot” from the recent premieres concert. Feel free to take a listen. If you are interested in learning more about the piece, read the previous blog.

freehand


jot


I’d like to extend further commentary on this piece in this blog. The previous blog discusses the inner meaning of the piece in hindsight. This blog will go a little further into that in relation to my current research topic, which is the Totalistic movement of the 90s (and even today?). It has been a lot of fun attempting to dig into an established “ism” that has occurred recently. There has not been much written about this beyond the writings of Kyle Gann (who, in which, I am interviewing this coming week!) I first heard of this movement back in 2004 when I scheduled a discussion with Appalachian State’s percussion professor, Robert Falvo. Since then, I have been very interested in this movement, since by the very definition, is something I’ve been trying to work into my own compositions. In a nutshell, Gann has described Totalism as “having your cake and eating it too.” This is to say, composers have used all types of music, from popular forms, Eastern forms, other world musics, and modern art music through the filter of minimalism to create music that can appeal to seasoned listeners as well as the layperson. Additionally rhythm is extremely important to the Totalist composers. They feel that the postminimalist did not go far enough in their pitch and rhythmic choices.

With that definition, I do feel that this particular piece has the Totalistic aesthetic in mind. I will eventually post a long blog concerning the topic once my paper is finished. Who knows where the hell music is going these days… I think the Totalists were onto something, and we should continue to go there.

Good news about this piece. The West Circle saxophone quartet is performing this at the regional NASA convention in Chicago this coming winter. They are playing “freehand-jot” along with a piece by David Biedenbender.

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MSU Premieres

Recently I have had two Michigan premieres on Tuesday, November. The first was a wind quintet I wrote this summer for the UNL Chamber Music Institute, and the other was a sax quartet titled “freehand-jot.” Feel free to view them below. The wind quintet is first on the program, and the sax quartet is last starting at the 34:00 mark. I have previously blogged about both pieces, so if you want to learn more, visit some of my previous posts. “freehand-jot” will be premiered in Chicago this February for the regional NASA conference.

http://www.ustream.tv/flash/viewer.swf

“Hoketus” by Andriessen (music you should check out)

I’m currently chin deep into a research project studying the Totalistic movement of the 90s. In short, the Totalistic movement was based in downtown NYC and involved postminimal composers interested in creating music that appeals to casual and serious listeners using a minimalistic backdrop. Unfortunately, there isn’t too much written about this movement beyond the writings of Kyle Gann. With this is mind, I am having to broaden the research back to minimalism, which led me to a book titled “Repeating Ourselves, Minimalism as Cultural Practice” by Robert Fink. Even though though this is a fascinating read, most of the musical examples provided in the book are staples from the minimalistic movement. I already know these, and it’s nice to stumble across pieces I’m not familiar with. Today one example that I’m not familiar with appeared in a chapter comparing minimalism to TV advertisement. Finally, something new to me! (Maybe I like minimalism/postminimalism a bit too much).

Anyways, the piece is call “Hoketus” by Louis Andriessen. The title reveals the technique use in which to create the piece. The technique is borrowed from old Medieval music called the hocket. This is cool technique where composite rhythms and melodies are generated by alternating patterns.


I particularly enjoy the shifts starting at 8:00 in Part I toward the end of the piece.

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Canciones de Jara: Concerto for Viola and Orchestra

I have had the great fortune to study with some awesome composers since 2001. My current composition teacher, Ricardo Lorenz, just premiered an exquisite viola concerto performed by Roberto Diaz (the president of the Curtis Institute) and the MSU Symphony Orchestra. Roberto Diaz performed the concerto immaculately; it was an absolute joy to listen to such greatness.

Composer Ricardo Lorenz with violist Roberto Diaz

The piece was based on songs by the Chilean singer/songwriter Victor Jara, who was murdered by Pinochet’s regime because of his outspoken protest songs.  Ricardo gave the piece a sense of reverence to Victor Jara in a very genuine and sincere way.  I was blown away.  I don’t want to give away too much by divulging some of the surprises within the piece… and believe me, there are some surprises that will evoke both emotional and physical reactions. As hackneyed as this line is: it sent chills down my spine.

It is a piece that doesn’t reveal itself upon the first few listenings.  After hearing it one and a half times, I am looking forward to having my own copy of the recording so that I can hear more of its secrets.

Lorenz came to our studio class yesterday to discuss the concerto and he posed a few questions that I will like to explore in future blog posts:

How does a composer of art music make a social, emotional, political, etc. statement without the aid of images? (i.e. films)

specifically….  How can you convey a non-musical message in a form as traditional as a concerto?

How can music in itself convey empathy?

I haven’t kept my word of blogging once a week!  I must repent by doubling up blog entries for the next few weeks.

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Afterthought

Many many times I realize that I go about doing things without knowing exactly what I’m doing.  After the fact, I sometimes have one of those “Oh yeah!  THAT is what I was up to!” moments.  I had one of those moments last week.  These moments have everything to do with me being an intuitive person… I get this from my mother, who is the most incredibly intuitive person I know.

This moment involves a saxophone quartet I composed during the first part of the year.  The piece is titled “freehand, jot” which I want to consider two pieces in a collection, and not two movements of the same piece.

For a while, I couldn’t pinpoint exactly what I was doing with “freehand.”  I could never coherently explain to my professor why I was writing what I was writing… however, he loved the music.  I love it too, but still am very nervous about putting it out there for public consumption. The ol’ premieres concert is approaching soon and I want to put some music on!  So, I found a sax quartet made up of graduate students at MSU to perform it.  Putting it together for the quartet made me reexamine what I wrote months ago.

I figured it out.  I can finally explain what I was doing in hindsight.

Here it goes:

“freehand” is made up of a chromatic collection of 5 pitch-classes.  That’s it.  No more, no less.  I was simply giving myself an exercise of using very little pitch material to create a piece.  Also, no melodies allowed!  I write melodies…  all the time…  I can only think of one piece (post-minimal) that doesn’t have a tune of some sort.

So that’s  it… I was simply giving myself a compositional exercise I’ve never tried before.  I used rhythm, timbre, intensity, density and TEXTURE to shape the form.  Then I realized exactly why I was playing around with the title “freehand.”  In high school I quickly realized that I would never become a visual artist.  Sitting in Art I, I spent hours on freehand line drawing exercises.  The lines would start out straight, but they immediately began to wobble and contort into a drunken path down the page.  I had to come to terms with the devastating news… I couldn’t draw straight lines!  Most people can’t.  I am one of them.  This is not essential to all forms of visual art, but I immediately knew that I simply did not have the technique for it.  I mean, who wants to become an artist anyway?

This also took me back to the times in elementary school. Many times I would get the red pen of death on top of the page marked -5…. handwriting.   Sorry if my nervous system isn’t good enough for you Ms. Teacherperson.  Another afterthought: I can barely read my own handwriting most of the time.

Anyways, the music reminded me of those painstaking exercises I endured in high school.  My hand would cramp. I feverishly erased lines and tried again.  Still the end results were be a sad lines that would veer from their paths of infinity.  This is like me veering from the path of trying to become an artist.  I still dabble… I’m a hobbyist… by the way… the cool banner on my website… I painted that.

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