tag:blogger.com,1999:blog-41394120591119699292024-03-05T05:25:46.746-08:00John Newman - Contemporary ComposerNews and updates about my latest music projects and concerts.John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-4139412059111969929.post-73489532052268015022014-05-23T07:11:00.000-07:002014-05-23T07:11:26.962-07:00Writing an opera? Am I insane?<div style="margin-bottom: 0in;">
For a long time, now, I've had an idea
for an opera. I even started planning and writing parts of it. A
reading of a couple of bits of it taught me two things:
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I like the direction this is
going.</div>
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<li><div style="margin-bottom: 0in;">
I need to rewrite it.</div>
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Yep. Rewriting a supposedly finished
song is a pain, but so is surgery. The hope with both is that by
enduring the pain and effort you'll not only recover from the
surgery, but come out in better shape than when you went under the
knife. In this case, it's more like plastic surgery. I've got to trim
away some bits to slim them down and put in implants to fill other
bits out.</div>
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My original goal for this summer was to
finish the opera. I've got a feeling I won't get it done, though.
Writing an opera is a big deal for a composer. It's a massive
undertaking and everything seems to hinge on the libretto. How do you
tell the story, within a reasonable amount of clarity and time, and
still make it musical? How do you explore all the aspects you want to
without writing several operas? Series might be all the rage in
movies and books these days, but I don't want to follow Wagner's
example or writing a multi-part debacle like the Ring cycle. I'll be
content to write just one opera per story, thank you.</div>
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Part of the problem is I've never
written an opera. The prospect is a little intimidating, honestly.
I've studied a few operas and written vocal and orchestral music so,
I'm not exactly flying blind. It's more like I'm flying through heavy
fog with a malfunctioning locator beacon. I need a flight plan.</div>
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<br /></div>
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And that's my plan of attack, really.
I've got a three act outline created, with various scenes blocked
out. It's a historical subject, so I've done some research and have
some text selected to use for some parts. Now I just need to isolate
different bits and get started.</div>
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I'll try and keep you posted.</div>
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John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0tag:blogger.com,1999:blog-4139412059111969929.post-69024656186789249282013-06-25T14:28:00.001-07:002013-06-25T14:28:37.032-07:00Moving the Studio<p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; ">Moving to Logan to go to school doesn’t just mean moving my family, it means moving my home studio. Even though our house is small, we’re losing about half of our square footage moving into an apartment. My studio is pretty small, consisting of a laptop, two near-field monitors, a six-channel mixer/interface, a microphone and a couple of keyboards. It all fit’s nicely in and on a small desk I picked up at a thrift store.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; ">While that’s not so bad at first glance, keep in mind that I’ll be moving it from my basement to my front room. That’s not so nice. Adding more furniture to an already small living room, coupled with the fact that it is a shared space (two kids and a wife), does not sound like a good recording space. Couple that with the fact that I only have a wall between me and my neighbor, and it just gets worse. Then again; the acoustics in my basement room weren’t all that great, either. It just had the advantage of being away from the common living area.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; ">I’m not sure how much mic recording I’ll need, though. Mostly I do instrumental music, and my output is going to be limited for the next couple of years while I go to school, anyway. In fact, the next recording project I’m planning is a solo piano CD, and I can do that with the soft-synths on the laptop. There should be a few nice spaces with pianos and such at the fine arts building, anyway. As a student I doubt it would take much for me to get access to them if I needed to record something more involved.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "><br></p>John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0tag:blogger.com,1999:blog-4139412059111969929.post-724796141940768202013-06-19T17:01:00.001-07:002013-06-19T17:01:48.485-07:00What Kind of Musician Am I?<p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; ">It has become increasingly apparent that I need to decide what kind of music I want to be known for and what kind of musician I want to be known as. I was warned about this several years ago by my friend and fellow composer, M. Ryan Taylor. I’ve been thinking about it all this time, but it’s finally come to a point where I don’t feel I can delay this decision much longer. It’s as much about soul searching as it is defining my audience.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "> This is not an easy decision for me. I grew up hearing early country and western music from my mom, who would sing older country and folk tunes that she learned from her father.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "> When I was a teenager, I dreamed of playing piano and singing pop and jazz songs in clubs, or playing my trumpet in a jazz group. I know. A teenager who wants to grow up to be a lounge act is one weird kid. At the time, I was listening to a lot of big band music, like Maynard Ferguson and Glen Miller. I was also spinning folks like Chuck Mangione, Tim Weisberg and Tangerine Dream, along with a few pop and rock acts like Billy Joel, Rush and Dan Fogleberg. On top of that, I was digging the likes of Beethoven, Mozart, and the occasional John Williams soundtrack. I was listening to a lot of genres. My own music was mostly love songs designed to woo the young women I was interested in.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "> During my senior year of high school, I discovered three musicians that changed my way of thinking about music: Arnold Schoenberg, Phillip Glass and George Winston. I started writing new age piano music. At the time I thought minimalism was pretty cool, but twelve-tone serialism was the silliest thing I’d ever heard of. Still, I did write a short twelve-tone piece for a music theory course I was taking. It wasn’t until college that I developed an ear for, and the musical understanding of, the language of modern art music. Now I’m hooked.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "> In college, I was introduced to electronic, event oriented music and had a mind blowing experience. I was moved beyond rational thought, somehow understanding the structure and language of what I was hearing from the very first tones. Needless to say, I started writing electronic music as well.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "> That is the exact problem. I love it all. I’ve written music, and continue to write music, in almost every style imaginable, but you can’t make a name for yourself doing that. You need to specialize. When someone asks me what kind of music I do, and I start running down the list, a little of this and a little of that, their eyes glaze over. I need to be able to describe myself in a simple, short, and clear way. I’ve never been able to do that.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "> I know that making this decision doesn’t magically bar me from working in other styles. It does require that I focus my output more on one area, though. If I’m going to market myself within a pigeon hole, I’d better have a product that reflects it.</p><p class="" style="font-family: Helvetica; -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-text-size-adjust: auto; font-size: medium; "><br></p>John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com1tag:blogger.com,1999:blog-4139412059111969929.post-72236070780749753542012-12-19T19:27:00.001-08:002012-12-19T19:41:02.985-08:00Music Video - The Penitent<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white; color: #222222;">Last year, the Salty Cricket Composers Collective (SC3) held a concert of organ music. We were talking to the Cathedral of the Madeline about hosting, but for some reason that fell through. We ended up holding it at my </span><u style="background-color: white; color: #222222;"></u><u style="background-color: white; color: #222222;"></u><span style="background-color: white; color: #222222;">alma</span><u style="background-color: white; color: #222222;"></u><span style="background-color: white; color: #222222;"> matter, the </span><u style="background-color: white; color: #222222;"></u><u style="background-color: white; color: #222222;"></u><span style="background-color: white; color: #222222;">University</span><u style="background-color: white; color: #222222;"></u><span style="background-color: white; color: #222222;"> of </span><u style="background-color: white; color: #222222;"></u><span style="background-color: white; color: #222222;">Utah</span><u style="background-color: white; color: #222222;"></u><u style="background-color: white; color: #222222;"></u><span style="background-color: white; color: #222222;">. When the call for scores went out, I was so taken with the idea of having my work performed at the Cathedral, I wrote something inspired by their namesake, Mary Magdalene, aka Mary of Madeline. She is the Catholic Saint of the Penitent. Although I am not a Catholic, as one who often needs to repent, I could relate.</span></div>
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In order to honor her, I took her name, Mary of Magdalene, and used an old composer trick to create the theme. I extended the letter names of the notes, A, B, C … and so on, to create the pitches for the melody. In this case, m = F, a=A, r = D, y = D, and so on.<br />
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The piece turned out to be more “in your face” than you might expect for a work on repentance, but true repentance can come with a great deal of soul searching, spiritually gut wrenching “in your face” moments, so I’m okay with it.</div>
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="360" src="http://www.youtube.com/embed/COz9qCj48k0" width="640"></iframe>
John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com1tag:blogger.com,1999:blog-4139412059111969929.post-32404380490884711292012-10-08T04:06:00.002-07:002012-10-08T04:07:02.137-07:00Music and Consciousness<br />
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<a href="http://www.sxc.hu/pic/m/p/pr/prof_alex/1226123_piano_hands_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.sxc.hu/pic/m/p/pr/prof_alex/1226123_piano_hands_3.jpg" /></a></div>
<div style="margin-bottom: 0in;">
<span style="color: #222222;"><span style="font-family: Times New Roman;">I
miss composing. I really do. I've gone back to school and, between
my day job, school, and family responsibilities, there’s not much
time to make music. It sucks.</span></span></div>
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<span style="color: #222222;"><span style="font-family: Times New Roman;">The
stress mounts each day I'm unable to make music. A little time with
my piano or guitar can be helpful, but I really need at least 2 hours
a day to make me happy. When I'm composing music, I lose track of
time. I believe my consciousness enters a different state where my
focus precludes the passage of time and nearly everything else.</span></span></div>
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<span style="color: #222222;"><span style="font-family: Times New Roman;">Performers
often experience this loss of time, as well. When a work is mastered
and performed well, so that the performer can stop worrying about
technical issues and focus on the musical expression, something
subtle changes in the mind. The fingers know which keys to press, the
lungs when to breathe and the attention is focused on the emotional
energy and musical thought. The performer, instrument, and music
become as one.</span></span></div>
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<span style="color: #222222;"><span style="font-family: Times New Roman;">The
experience is truly amazing. Recently I was able to play one of
Chopin’s Nocturnes nearly perfectly, for the first time. Sure, I
made a few minor mistakes early on, but overall it was a decent
performance. There are a few scale-like runs in the right hand that I
had struggled with. That evening I rendered them flawlessly. Everyone
else was in bed. I had the living room to myself. The house was
quiet. As the last notes faded into silence, my consciousness came
back to the room. A feeling of peace flooded through me. I held onto
that sense of “rightness” as long as I could, but of course, it
left me as the requirements of living returned.</span></span></div>
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<span style="color: #222222;"><span style="font-family: Times New Roman;">In
light of that experience, and many similar ones, I've started
wondering about the nature of music, and consciousness. The
experience was not unlike being in deep meditation, leading me to
wonder if creating this kind of music may be a similar activity. All
acts of creation may share these similar consciousness changing
traits.</span></span></div>
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<span style="color: #222222;"><span style="font-family: Times New Roman;">This
sounds like a research project to me.</span></span></div>
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John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0tag:blogger.com,1999:blog-4139412059111969929.post-22776176103115339112011-08-25T10:38:00.000-07:002011-08-25T10:38:53.029-07:00Music Video - Thanksgiving Partita<span class="Apple-style-span" style="background-color: white; font-family: arial, sans-serif; font-size: 13px; line-height: 18px;">A minimalist viola and cello duet. Writing this, I tried to capture that calm, together feeling we all hope for when family gets together, even if we rarely get it. I was blessed to get the performers I did. Both are regular players with the Utah Symphony.</span><br />
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<iframe allowfullscreen="" frameborder="0" height="510" src="http://www.youtube.com/embed/02XCISeV_Xg" width="640"></iframe>John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0tag:blogger.com,1999:blog-4139412059111969929.post-69412413274191098762011-08-25T10:31:00.000-07:002011-08-25T10:31:56.248-07:00Of Chants and Strings and Opportunities<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJ4dvt8q1q_tg1QgsrBdN_mg-xQokjHtVcVLA9_x4cVC7FQdF4mHnCm0vtnJFMtlM80QYhlum9Ur2TkQz9FEcJpICz3lRo9E0aEuj6OD_JWb1lRXFNseH-HxLLHxp099kYrRfYzDwbhuV/s1600/1298069_sheet_music_11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJ4dvt8q1q_tg1QgsrBdN_mg-xQokjHtVcVLA9_x4cVC7FQdF4mHnCm0vtnJFMtlM80QYhlum9Ur2TkQz9FEcJpICz3lRo9E0aEuj6OD_JWb1lRXFNseH-HxLLHxp099kYrRfYzDwbhuV/s1600/1298069_sheet_music_11.jpg" /></a></div>I’m feeling very excited, and grateful, today. There have been a lot of composing opportunities that have come my way these last few months. Nothing that will be immediately profitable, I suspect, but I don’t know anyone who wakes up and says, "I’m going to compose music because the money is so good."<br />
<br />
In any case, I’ve got several works on my musical plate right now. Currently, I’m trying to finish a string quartet, based on an old chant. I’ve put aside setting D&C 121 to music for now. The SQ has the earlier deadline. There are actually two SQ’s. Barlow Bradford, of the Utah Chamber Artists, has commissioned the Salty Cricket Composers Collective (SC3) to come up with two string quartets based on two different chants for an upcoming concert. SC3 has opened it up as a contest. The two winning submissions will be chosen by Mr. Bradford. <br />
<br />
Obviously, I’m hoping to win at least one spot, but if not, that’s okay. I’m really enjoying writing this piece. It’s a tonal/modal work, and I think I’ve got most of the major bugs worked out. I’ve certainly got the major themes and harmonies done. Now, it’s down to editing and finalizing the details: articulations, dynamics, and so on. It’s been a real joy to get back to my “tonal” roots. Studying composition in college was a wonderful experience, but also a strange one. Three years of learning traditional harmony, voice leading, and counterpoint only to be told, “Don’t write that way.” Tonal music was looked down on by my professors. They favored the second Viennese school – Schoenberg, Weber and Berg – over the first. It feels like an almost total disconnect.<br />
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I can’t blame them. As much as I love Mozart, I get tired of listening to him all the time. I want variety. My professors approach was to “break me” of the aural habits learned from a lifetime of listening to Beethoven so that I could write what I wanted, in any style. Or at least that’s what they told me. I’ve found that artistic choices at University to be as politicized as the war between Democrats and Republicans.<br />
<br />
In any case, after years of writing atonal music, I find myself moving more and more back to the tonal. Recently, I’ve been rediscovering my love of movie soundtracks, minimalism, and 19th century romanticism, especially the work of Chopin. In any case, it’s certainly be a fun trip.<br />
<br />
John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0tag:blogger.com,1999:blog-4139412059111969929.post-11278238055345343822011-06-17T14:45:00.000-07:002011-06-17T14:45:41.656-07:00Music Video - Ten Shin Go SoBased on a form from the martial art, Aiki Shintaido, Tenshingoso describes the 5 major steps of life, from our pre-mortal existence, through birth, creating our world, making our place in that world, and finally gathering up all we have created as an offering, giving it back to the universe before we die.<br />
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This video was debuted at <a href="http://saltycricket.org/">SC3</a>'s 2010 Melange concert, in the <a href="http://www.slartcenter.org/">Salt Lake Arts Center.</a><br />
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<center><iframe allowfullscreen="" frameborder="0" height="349" src="http://www.youtube.com/embed/e2pQLQmBals" width="425"></iframe></center>John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0tag:blogger.com,1999:blog-4139412059111969929.post-31991072582643846062011-06-10T11:07:00.000-07:002011-06-10T11:07:36.557-07:00Getting Ready for Salty Cricket 2011<div class="separator" style="clear: both; text-align: center;"><a href="http://profile.ak.fbcdn.net/hprofile-ak-snc4/50272_55226643812_1973_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://profile.ak.fbcdn.net/hprofile-ak-snc4/50272_55226643812_1973_n.jpg" /></a></div>I recently submitted two works for the upcoming 2011 Salty Cricket Composer's Collective (SC3) concert series, and one for next year's series, so I thought I'd tell you a bit about them. I don't know if they will be selected or not, but I'm hoping they will. I feel pretty good about them, in any case.<br />
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<b>The Penitent, </b>for solo organ<br />
<br />
<i>The Penitent</i> is a minimalist piece. It was created by using and old technique of coming up with themes by transposing letters of the alphabet into musical notes. A through G are pretty straight forward. After that, you start over with A again so that H = A, I = B, J = C, and so on. In this case, the theme comes from the name of Mary Magdeline, considered to be the Saint of those who repent of their sins in Catholicism. I'm not Catholic, but like most people I've got a lot to repent for.<br />
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<b>Caprice Atomique</b>, for Perriot Ensemble<br />
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A caprice (or capriccio) describes pieces of free, or unconventional form. They are distinguished by originality in harmony and/or rhythm. This piece is, again, mostly minimalist, with a highly syncopated groove running throughout. The “atomique” part comes from the fact that is was inspired, in part, by the music of Battlestar Galactica. What can I say? I'm a sci-fi fan.<br />
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A Perriot ensemble is named for the ensemble Arnold Schoenberg used in <i>Perriot Lunaire</i>. It has become a popular modern chamber ensemble in it's own right, consisting of flute, clarinet, piano, violin, cello, percussion, and optional vocalist. In this case, there is no vocalist. The percussion is limited to one player on both snare drum and vibraphone. <br />
<br />
I did some experimenting in this piece, using instruments that are normally used in melodic and harmonic ways as if they were part of the rhythm section. I think it could be expanded in several directions, but I ran out of time before the deadline. Expanding the piece and creating more variations will have to wait for another day.<br />
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<b>What Manner of Man Is This?</b>, for SATB choir<br />
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I wrote this several years ago when I was asked by my friend Mark Hansen to write something for his church choir. A mutual friend, Bruce Forbes, wrote the lyrics. The text is based on scripture:<br />
<br />
<blockquote>Matt. 8:27 But the men marvelled, saying What manner of man is this, that even the winds and the sea obey him?</blockquote><br />
It takes it's musical cues from a combination of early 20th century music and Medieval liturgical traditions. The voices alternate between the men and women in almost chant-like fashion, entering a canonical section toward the end. I'm quite happy with it and I hope Bruce is, too.<br />
<br />
I originally envisioned this as a work for choir and organ. I had wanted to orchestrate it for choir and string orchestra as well, but I had quite a bit of difficulty with the instrumental parts. I didn't want to just duplicate the vocal lines, but their own lines kept cluttering things up. In the end, it became a work for SATB without accompaniment. Unfortunately, it also ended up being too difficult for an amateur church choir and was never performed.<br />
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<b>Upcoming ...</b><br />
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I'm also working on an aleatoric multi-media piece, performed on an iPad, for SC3's yearly Melange concert this year, but submissions aren't due until August. It's a good thing, too. I've got some technical issues to work out and I'll likely have to borrow an iPad 2 for performance. It will do video mirroring, where my first edition iPad will not.John Newmanhttp://www.blogger.com/profile/02990607882342384818noreply@blogger.com0