Jump to content
Young Composers Music Forum

jawoodruff

Old Members
  • Content count

    3,813
  • Joined

  • Last visited

  • Days Won

    40

jawoodruff last won the day on August 1

jawoodruff had the most liked content!

Community Reputation

241 Excellent

3 Followers

About jawoodruff

  • Rank
    Elite Composer
  • Birthday 05/05/1980

Contact Methods

  • Website URL
    http://etlux.playtheradio.com
  • Yahoo
    jason_woodruffin@yahoo.com

Profile Information

  • Biography
    Patience, diligence, persistence, and sincerity will lead to success. <---- old bio

    It's interesting looking back at my posts from almost a decade ago on this forum. I've come along way since then! Now I'm an old man on here!! I'm now a business owner. I own a modestly successful cleaning company in Indianapolis and am now devoting some attention to a new radio station (online, of course) to promote the works of new and emerging composers (got to give back somewhere.) Who knows, I might post some of my works again -I can still do that, right?
  • Gender
    Male
  • Location
    Indianapolis, Indiana
  • Occupation
    Freelance Composer, Entrepreneur, Business Owner
  • Interests
    music, history, science, religion
  • Favorite Composers
    Mozart, Beethoven, Schoenberg, Gubaidulina, Stravinsky, Schubert, Berg, Ligeti, Ravel, Debussy, Scriabin, Prokofiev, Stockhausen, Ruth Crawford-Seeger, Takemitsu, Chopin, Murail
  • My Compositional Styles
    Modernism, Post-Modernism, Minimalistic, Serialist
  • Notation Software/Sequencers
    Finale 2009
  • Instruments Played
    Viola, Piano, Sing

Recent Profile Visitors

17,347 profile views
  1. I'd like to encourage EVERYONE on here to take a listen to a 24/7 radio station dedicated to promoting works by living composers. Many of the works programmed so far have not had any real performance outside of their premiere. One work, that I know of, hadn't even had a premiere -the broadcast turned out to be its world premiere! The radio station can be viewed here: http://etlux.playtheradio.com We also have a companion website, still in development, that features a program of the works played, program notes for selected works, composer bios, and a forum to connect musicians with featured composers with the goal of generating future performance and commission opportunities. The website can be viewed here: https://etluxradio.playtheradio.com ALSO: I am sponsoring a YCM Forum Competition seeking radio jingles. The deadline is September 15! Get those Jingles written!!
  2. Write A Jingle!

    Deadline for submissions is now set to September 1st!
  3. Write A Jingle!

    Let's revise that then....
  4. Write A Jingle!

    Hello YOUNG COMPOSERS! Many of you may know me as a former administrator on Young Composers (4 to 5 years ago, to be exact). I am now the founder and owner of a fresh online radio station. The mission of our station is the promotion of modern classical music by today's new and emerging composers (including yourselves.) Our station recently completed a call for works that have netted over 6000 live recordings from composers all over the world. As part of our development, we are looking for catchy, innovative, and appropriate jingles to fit our broadcast lineup. Thus, we turn to the next generation of composers - you! Requirements: 1. Can be for any instrumentation 2. Must be either a realistic rendering or live. 3. Must be between 30 secs to 1 minute in length. 4. Must incorporate the words Et Lux Radio (either spoken or sung) 5. Must be original music. We are looking for 3 different jingles of varying styles! Each of the three jingles will be rewarded with incorporation into our broadcast lineup, mention on our FB page, and possible cash prizes soon to be determined and announced. NOTE: This competition is only open to members of the YC forum. I will be viewing entrants profiles to insure steady activity within the forum -so please DO NOT create a member profile just to enter, your work will not be selected. Thanks and Good LUCK! -Jason A Woodruff, Founder -Et Lux Radio
  5. Composition theory

    "Blind of the fact this topic is concerning CPE theory...." When I begin a work, trivial or serious, I first start with a series of pitches (with or without rhythm) -usually between 2 to 5 pitches for a motif. I expand the motif by adding another 2 or 3 pitches at a time (sub-motifs). Depending on the idiom (serial or non), I may use a matrix to help organize my material OR just begin writing. The idea here is to provide focus on brevity. People love things they can remember -and they especially love things they can easily pick up on. Keeping your material small allows for you to optimize and maximize this. I hope that makes sense. After I build the motivic units together to create a musically logical (or illogical, lol) sentence. I look at the potential areas that I can take this. Do I want to develop the material further? Does the idea scream for a short work that leaves the listener curious? How do I want the idea to evolve and flow? Once I have an idea where I want to take the material, I begin to select the proper form for it. Forms, as I mentioned in another post, are another aspect of theory that are extremely important. The form allows you to state your ideas, develop them, and allows the listener the opportunity to follow your ideas through the process itself. Notice I've not talked about harmony? Despite my education and attendance in music harmony courses... I would argue that harmony is an item of music that is the byproduct of these other processes. Obviously, in developing the motivic units and the overall sentence of my ideas... the harmonic language (and subsequent rules associated with the language) should follow suit. But these rules and language -in my personal opinion- aren't meant to be followed to the fullest. After all, what if the idea behind my motif was to cause my listeners to question their own socio-cultural understanding of music??? At any rate, harmony to me isn't as important an element as the construction of your ideas or the form in which you plan to develop those ideas with. So, to summarize, the list of things to be aware of when embarking on composition are the following: 1. Motif and submotivic units 2. Form 3. Your musical language. I hope this helps!
  6. String Quartet No. 1 in C major

    I. I like the opening theme. I echo the above though in stating that more importance should be given to all the members of the quartet -not just the 1st Violin. I also would go further to state this movement needs just a bit more contrast. The theme is interesting, but after a bit, it got boring. II. I can see the kernel here for an awesome second movement. However, I don't think this delivered fully. There seemed to be an over-reliance on the established accompaniment material. Again, this movement also suffers from a lack of contrast. III. Where is the driving rhythm characteristic of an 18th century string quartet? This movement is almost as slow as the other two movements... why are the other instruments not joining in the melody? Give some of the running 8th and 16th notes to them, let them have some fun! And it ends so soon... IV. A movement with a theme faster than the trio/scherzo? Say what??? Again, let the other three strings partake in the melody. They aren't just for providing a backdrop. This movement seems to have a lot more contrast then the previous three movements (and was very much welcome). This movement also was rushed to an ending and didn't deliver the final period of the entire string quartet. All in all, I think you have an idea of melody construction and harmony. I'd like to see you do the following: 1. Expand your ideas more. From the start of the classical period to its final transition to the romantic period, composers expanded the roots and ventured off in dramatic ways - all within an extremely structured style that paid high regard to form. 2. Look past the elementary usage of strings. The 2nd violin, viola, and cello are integral parts of a string quartet. They all, homogenously, create music that transcends the limitations of their construct. The cello, with the sound range of the human voice, is capable of extreme lyricism and storm alike. The viola, with its high nasal register and rich middle and lower range, serves multiple purposes and can even carry its own compared to its more popular counterparts. Explore how they can aide in transforming your thematic material and expand/develop it to its full potential. and finally... 3. Individualize the forms you use. A form is a blueprint upon which you can present, develop, and finalize your ideas. Even though we have this blueprint -which is well known and taught, it does NOT mean that you have to adhere to it fully. And you should not adhere to it verbatim. One of the hallmarks of composition is that each individual can take the same tools and create something fresh and new. This was true of Haydn, Mozart, and Beethoven... just as much as it was true of Schoenberg, Webern, and Berg. The tools are the same, the outcome much different. Individualize your forms. Choose what areas you want to focus on -and have at it. Don't let the form overwhelm you -and don't be stuck by it. Mold it to fit the individual idea you decided would best suit that form. I hope these points provide some guidance for you. You definitely have good material here. Let's see what YOU can do to make this better!
  7. Fugue No. 1 for harpsichord

    All in all, not a bad -albeit little- fugue. I love the rhythm used for the fugue subject. I think one bit of a change I would of added, would be a contrasting countersubject. Something perhaps in a slower rhythm, but strong enough to provide more material to elongate the fugue with. Not a bad fugue, though. Almost video-game sounding!
  8. Prelude III: This prelude is more of a meditation, similar to prelude 1 -however, this is non-serial. The basis is the left hand arpeggiation pattern. Hope you enjoy! Prelude IV: This prelude, comprised of only 4 notes, is a theme and set of variations on the opening 2 bars. I tried to keep interest. Still tinkering with musescore -so some of the articulation marks at the ending are incomplete. I'll add those later. Hope you enjoy!
  9. Preludes (I & II)

    Oh of course. I began firmly with a final pallet. I moved towards atonality gradually. Sadly, a lot of my old uploads -which show that gradual move- were lost.
  10. Summer

    I think I see the reason for the bass notes. It's almost like the world below that receives the light of the late afternoon sun. Kind of a neat premise -and an interesting piece. Would classify this as post-minimalism? I'd very much like to see if you have a live recording of this that I include in my radio broadcasts. Very interesting work!
  11. 13 Songs in 12 Keys

    Given these are theoretical, any chance you can transcribe a score for us to peruse? It would definitely make the reviewing process a tad easier.
  12. Adagio for Orchestra

    All in all, very emotive. I think changing up the texture a bit towards the end might make it a tad more interesting (perhaps rising lower strings?) All in all, not bad. Would love to see a score for a more thorough review.
  13. Preludes (I & II)

    I. Yes, I do have big hands, lol. b. I chose 3/2 due to the left hand pattern. The right hand, which has material, honestly can be anything really. Playing the piece, I tend to improvise the right hand to a great deal -the left hand is the main material of this first prelude. c)I see your point, though, I consider this to be a subjective point. The midi rendering doesn't really handle purely chordal passages well -and even if I set the pedal marking to it... it's still not the same effect as a real performer. That said, I tend to idolize patterns like that in the left hand of this movement. Hypnotic, almost meditative patterns are a fav of mine -and that's what I was going with in this movement. I'm still learning the ins and outs of musescore. Once I rework this movement, It will state a series of notes for the right hand with instructions to improvise upon them. That's my main intent with this. II. a) the repeated note, your right, is awkward in the serial sense. However, that corner of the matrix does indeed have the repeated note! This movement is devious in that it utilizes the matrix like a diamond. Thus, diagonal rows instead of horizontal and vertical. It makes for an interesting take on serial music, imho. This movement is inspired by a string quartet that I am working on. In the quartet, I also utilize the same idea -but to a much broader and more intense effect. The reason for this, tbh, is I'm bored of utilizing serial matrices. I want something more freer. b) yeah, I don't know how to do this in musescore just yet :P, c)for contrast, tbh. I could've just repeated the initial pattern -but that would be kind of boring, right? Like I said in the description, though, both of these pieces are mere compositional trifles. By that, I mean, preludes to me contain ideas that I plan to use in other works (or, as in the case of the second, are inspired by things I do in other works). I shared these to give a glimpse into how I view composition. You'll probably tire of my works like that, lol. Yeah, I concede that the first movement is very much freer in the atonal sense -however... the chords are based on the corners of a serial matrix I used for another work (just six notes), hence why the brief transition and return. The second piece, however, is more based on a matrix than the first. Again, though, I don't utilize the full rules and nature of serial music in either piece. As I said in response to Monarcheon's thoughts, I'm bored of serial technique. After awhile, listening and writing, it becomes highly self-explanatory (to the point, where to garner interest, you have to resort to other techniques). So, the result will most likely be more growth in terms of my harmonic and compositional style. These preludes will probably venture into uncharted territory for me harmonically -that generally tends to be the case with these smaller, more trifle works. Thanks for both your thoughts and comments. I'll try to post something a bit more serious for yoru critiques!
  14. This is just a trifle really. Started these about 2 months ago. The idea is a brief prelude written every morning. The first one plays around with a serial matrix -purposefully breaking the means at which the matrix is used to generate the material for a piece. The second one follows this same purposeful inconsideration of serial technique by juxtaposing the material from the matrix in a particular manner. Again, these two are mere trifles -serious pieces, but really just trifles. Note, I'm just learning musescore. I don't know the full ins and outs of making the scores look professional -so don't bother critiquing that!
  15. The Extreme Smallness of Insects

    My harmonic language is quite removed from this type, lol. It's been almost a decade since I composed anything like this. I need to brush off my works and share some of them.
×