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Symphonic Suite No. 1 is a collection of pieces I originally composed during my time at the University of Michigan. I was constantly told by my good friends and Sinfonian fraternity brothers, Jamal Duncan, Armand Hall, and Damien Crutcher, to write for symphonic band. I eventually drew upon my time at my alma mater to compose for this idiom, which gave me my love for playing, my love for classical music, and my desire to compose. Chorale and Prelude was the last piece composed for this suite. It was originally written as my final-exam project in my Baroque counterpoint class with Kevin Korsyn. It was easily made into a piece for saxophone choir. After realizing the suite was incomplete with the later three movements (Marziale, Hymn, and Gigue), I composed additional material (F major) in 2012 to prolong the piece and give it more color. Marziale comes from my tuba-euphonium quartet, Quartet No 1, which was composed for three friends of mine: Kristof Schneider, Tony Halloin, and Todd Shafer. It was inspired by the Hindemith Trombone Sonata, which I first heard performed in 1994 by my brother, Bradford Mallory. Hymn was originally written as “Jesus is Lord.” It was commissioned as a band piece by Frank Perez and Graceland University and premiered December 8, 2011. An alternate version with choir was premiered by Edward P. Quick and the Michigan State University New Horizons Band. Gigue also comes from my tuba-euphonium quartet. I loved Kristof’s sound on euphonium and was thoroughly impressed with Todd’s and Tony’s range on tuba. Their abilities inspired me to compose habitually. This piece was also inspired by the Violoncello Suites of Johann Sebastian Bach and Second Suite in F: Fantasia on a Dargason by Gustav Holst.
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Here is my suite in nine-parts about Dante's Inferno and the circles of Hell he describes. I rewrote the entire suite, as I had previously written in only six days. Much of the suite is different, and this time I included a brief introduction about every piece and the suite as a whole to give you, the listener a better idea of what is going on. Let me know what you think! -
OK, this Suite has many more pieces, but to show what can be done with exotic scales (and much more if they were in the hands of an expert) this three (short) are enough. Jewish scale, Romanian scale, Harmonic-Ionian and Harmonic-Eolian scales, "Bizantina" scale, Lydian-eolian scale and Locrian (yes, it is present in our folk music). Some of them will semm odd to you. All are here: -
A suite made up of sketches 58, 62, and 78. I like this better than the first, personally, since I actually studied this type of music before these sketches, instead of mindlessly writing what I thought this type of music was. Enjoy!
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So instead of posting multiple threads, I just compiled them in a series.... More will be uploaded later... -
Some time ago, I wrote music (piano solo) for the silent movie The Cabinet of Dr. Caligari, synchronizing music and image and, by the way translating the titles into Spanish. After that, I extracted two suites. This is the first. From m. 140 to m. 153 you will notice a quotation (harmonized in a peculiar way) of a song by The Beatles from Sgt. Peppers: For the Benefit of Mr. K... It corresponds to the scene of the fair in the movie. Of course it is very different to listen and to wath it.
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A short, tense Bagatelle in D Minor for String Orchestra (+ Triangle), the second movement of a Suite still in progress. The form is roughly A-B-A, with the A parts in Agitato cut time, D Minor, and the dreamy B part Assai Meno, written on the contrast between mute sustains and pizzicati/short sforzandos. Apart of some notational distractions (I forgot the 8vb in the Violas, last bars and to write divisi in a couple of Vl.I passages, let me know If you note some scoring errors (I'm not a string player). Audio and score: https://www.youtube.com/watch?v=D0E-f7GmxXE
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I've posted these before but I though I'd share it again as I made some minor edits since it was last posted on some of them. This is a set of six pieces dedicated to my daughter that I wrote around the time she was born four years ago. The keys of the pieces (loosely) spell out her name. They have a pretty large range in terms of difficulty since I initially set out to write short simple pieces suitable for an intermediate level piano student but over time, they evolved to become more thematic in nature loosely depicting a childhood scene. Here's brief description of each one: No. 1 in C major - A simple sonatina movement, perhaps depicting a child's first steps on their own. No. 2 in A major - A waltz-like piece, perhaps hinting at a young child dancing with her doll (my daughter loves to dance). No. 3 in B-flat major - A fast scherzo somewhat capturing the happy chaos of young children playing together. No. 4 in B minor - A hybrid rondo-variation form. The A theme is supposed to depict the child in various moods over the course of the day as he spends the day with his mother, starting off a little grumpy when he wakes up and ending quietly as he is put to bed. No. 5 in E minor - A set of simple variations on "Twinkle, Twinkle, Little Star" which used to be my daughter's favorite song as a toddler. Not surprisingly this is her favorite one. No. 6 in G major - A march celebrating the transition from childhood to young adulthood.
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So this uploaded this piece a couple of months ago (original in the archives). I have added an another movement, and I think I can say now that this work is pretty complete (barring some minor revisions). Impromptus are collection of short orchestral pieces that I have written (on a whim basically) in the past year and a half. They consist of short movements each with a unique mood and form. The 3rd movement (the Berceuse) was inspired by a theme by Christian Perrotta (I'll link his original theme below). The instrumentation is fairly the same throughout the whole piece. Let me know what you guys think, and thanks for listening/commenting! Christian's theme: http://www.youngcomposers.com/music/listen/7827/Tema (Challenge No. 4)
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This is a set of preludes I composed and recorded for the piano, and the set tells the narrative of a maritime journey, detailing the calm sea, the time spent on the ship, the lighthouse on land, the seabirds, and finally the port. I made these pieces the bulk of my newest album, and it can be found here. Thanks, and let me know what you think.
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This is a suite made of some new and not-so-new material. The name "Lake Suite" (Suíte Lacustre) comes from the surname of my friend Deborah Lago (lago = lake, in Portuguese), to whom this suite is dedicated. The movements are: 1 - Prelude 2 - Cantabile 3 - Elegy 4 - Ricercare 5 - Interlude 6 - Toccata
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I attached the final two movements as just MP3's, as I have yet to upload them to YouTube. This is my most extended piece of music, which was completely over the period of about 6 days. It consists of nine movements for orchestra based around Dante's Inferno, a description of Hell. The score may need some revision, but the work as a whole is ~160 pages, so minor revisions are to be put off. Enjoy, and check out my YouTube channel for a more in-depth description of some of the individual pieces.
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A few years ago I didn't like suites, sonatas... because they seemed boring at the time. As the time went by, I started to realize the inner structure of those forms, and appreciate them more. Most recently, I have became sort of a structure freak, observing relations between sections, movements..., and it does indeed fascinate me. I've also been composing for some time now, but didn't write that much material. Most recently I have firmly set a goal for me, a keyboard suite in c minor. So far, I've written 3 movements, Prelude (presto), Adagio and Scherzo (Allegro assai). The movements yet to be written: Trio, Chorale, Finale. I structured it like this: Prelude (very fast repeating figure going through different harmonies) 2/4 Adagio (as a contrast to the prelude - polyphony in 3 parts) 2/2 Scherzo - Trio - Scherzo d. c. (fast scherzo and relatively slow trio) 3/4 Chorale (slow, hymn - like homophonic four part harmony movement) 4/4 Finale I have a few questions. Please if you're going to answer 'just do whatever you feel is the best', don't even bother writing it. 1. Should at least one movement be completely in a major key (e. g. Trio or Chorale) 2. Is it better for the Finale to be in 6/8 meter and act like a jig so the suite closes like a baroque dance suite, or should I use a rondo form like closing a sonata. 3. I was thinking for some time about adding an 'extra' movement in the middle ('the center movement') between adagio and scherzo. Perhaps a Toccata of some sort, or a rondo movement, but then a jig at the end... Or is it good just the way it is now. I know it is a lot of text here, but... I wanted to be informative. I would have put the first 3 movements up here for you to listen, but I don't have a microphone, and MIDI synthethization is just lame.
