Improvisation

The 8′ Gedackt on the Choir is the chiffiest stop on the whole instrument, like so much of the Moller organ at the Monastery.  And when given an overripe banana, throw it in the freezer and make banana bread.  By that I mean, it is up to me to make it work.  This particularly stop … More Improvisation

Improvisation

Today’s improvisation continues my thoughts about exploring individual stops and the possibilities a single sound might contain.  Something I feel is not always taught well is how to register an instrument well.  That’s a broad statement for a different discussion, but something that needs close attention, especially in instruments of lesser quality like the one … More Improvisation

Composition

This is the final piece in the Interludes for piano – a series of works devised for my music theory teaching.  The last movement contains one of my earliest ideas – during the B section.  Somewhere in my old files is a bunch of scherzo sketches that never amounted to a work.  The B section … More Composition

Improvisation

And I have begun another series of evening improvisations.  This series will focus on one particular idea: the timbre of an individual stop.  The original Evening Improvisations, a series of (hopefully) avant-garde experimentations on my part, was trying to explore instruments in interesting ways.  What it lacks, in my opinion, is a more precise and … More Improvisation

Composition

The fifth piece in these (free!) piano interludes is perhaps the most obvious in its form: namely, ternary.  I never had the chance to use this in a classroom setting but I am really happy with the B middle section, which is a two voice fugue.  I wrote this fugue for this piece because I … More Composition

Composition

This particular Interlude, one I would call a valiant attempt, is supposed to be in rondo form.  As I have stated in previous posts, these Interludes were composed with the a teaching element in mind.  The problem with rondo form is that it is usually a larger scale form, one that cannot simply be put … More Composition

Composition

The third Interlude in this series is the earliest written.  Just as the other Interludes incorporated elements taught in a theory curriculum for both written and aural theory 3, this one too does as well.  The element prominently used is of course the metric modulation.  There are some harmonic elements typical of later 19th century … More Composition