I Hope Neil Young Will Remember

13 May, 2017

I Hope Neil Young Will Remember

Ridiculous idea I had the other day while thinking about contrafacts. Based on Stars Fell On Alabama.


Gretchen’s Lock

23 February, 2016

A piano trio, inspired by the stories of Gretchen’s Lock in Beaver Creek State Park, in Ohio. This piece uses a magic square process based on a triangular number sequence. Parts available, just ask.

Gretchen’s Lock


Make your travel plans now.

20 October, 2010

My Wallace Stevens setting, “The Snow Man” is being premiered Jan. 31 2011 in Youngstown OH by the inestimable Corinne Morini and Diane Yazvac. I will be there, so keep your autograph books handy.

I should do this more often, I guess.

14 September, 2010

I haven’t posted lately. Moving halfway across our great nation, along with the funtimes stress of a faulty towing dolly, among other things, has thrown me all out of whack.

Here’s the deal, the total deal:

I am working on more Schoenberg analyses using the Hindemith chrd groups, and creating faux-Schenkerian diagrams of them. Soon, I’ll post an analytic reduction of “Der Kranke Mond” that will make the menfolk weep.  I am trying to make sense of where  I was in the composing of the 4th movement of my dissertation piece. All the time I ended up taking away from both the theoretical and compositional work has done horrible things to my continuity. I also have a commission from a member of the Stambaugh Chorus for a set of pieces setting the Beatitudes, in addition to all the other works in progress.

Damn.  I may need a set schedule for the rest of this year.

Ghost Trio

28 April, 2010

Not the Beethoven. I’m writing a piano trio for my friends The Osud Trio, inspired in part by the legends surrounding one of the locks in Beaver Creek State Park.  Here’s about 7 pages of creepy counterpoint, from the outset of the piece.

Working for the weekend

17 April, 2010

Funny thing about weekends when you’re unemployed. They don’t quite mean so much, except you get to hang out with all your working friends. So, I’m using weekends to work on non-dissertation music, when I can. Odd how having a deadline for one piece makes all the others one could be writing so much more attractive. Right now, this weekend, I’m turning an old art song (a setting of Zbigniew Herbert’s Nike who hesitates (go to p.29)) into a string quartet. I’m also finishing up the last of my three Poe songs in a piano revision, and maybe sketching a solo guitar piece, if time permits.

While I’m Taking a Pause in Dissertating.

13 April, 2010

Years ago I wrote some settings of fragments from various poems by Edgar Allan Poe. As anyone who’s known me for more than ten minutes is likely aware, my favorite authors are Lovecraft and Poe. I read Poe for the first time in first grade, in an illustrated edition of The Murders in the Rue Morgue, and I haven’t been right since. So, naturally, I beat it into my younger brother as well. He sang these on my senior comp recital at YSU in their original versions, the recording of which was misplaced by the person who ran the machine. Shortly thereafter, the disc the piece was saved on (this was back when discs were allegedly “floppy” and held about 4kb) became “corrupted” and would no longer open. I thought the piece was irrepairably lost until Philip gave me his rehearsal copy of the score, allowing the rewrite I am in the midst of when not writing the dissertation.

Here’s two of the three movements from …while the angels, for tenor and piano. The third, a setting of the final lines of Annabel Lee, will be up soon.

from The Conqueror Worm

from Bridal Ballad

A mind of winter, continued

21 March, 2010

The Snow Man is a finished product, in two versions. One with (very) austere and minimal piano accompaniment, and another for string quartet.

But What Does It MEAN, Professor? (Updated)

24 February, 2010

So, this is an analytic reduction of Schoenberg’s Op. 19, No. 2. The first element to be addressed is the nearly omnipresent G-B dyad that begins the piece. It occurs in eight of the movement’s nine measures. This repetition is a sure sign of the significance of thirds in the work’s harmonic structure. The first variance from this dyad expands it out to a III.1 chord (including the melodic F-sharp). The III.1 chords are significant throughout the movement- it begins with two such chords in succession and likewise ends with a pair of them. This group contains but is not limited to diatonic seventh chords lacking tritones: major sevenths, minor sevenths, and the possible-but-rarely-encountered minor-major seventh (that is a minor triad with a major seventh above it). The melodic outlining of an A-flat major triad (interpolating what can be considered a nonharmonic A) sounding beneath the G-B dyad creates the second III.1 chord. Comparing this descent to A-flat in measure 3 to the ascent from A-flat to C in measure 6, the A-C-sharp dyad there could be construed as having a nonharmonic function as well.

Moving on to root motion, it is clear that third-relations are significant here as well. Root motion by third appears regularly; five of fourteen root movements are by thirds. An additional three connections are by whole step, harmonized in parallel major thirds, and outlining a whole-tone scale fragment, which is broken by the half-step descent to C-E prior to the final sonority, again a III.1 chord, on G.

The melodic framework extrapolated here has been ‘normalized’ into a single octave for graphing purposes. Again, in it we see the emphasis on thirds, from D to F-sharp, and then descending (in pitch classes only, the actual register of the pitches is generally the octave above) to D at the end of the movement. Also, there is an internal descent by thirds in measure three, continuing from the anacrustic F-sharp in measure two.

Again, further information as this situation unfolds.

One must have a mind of winter

11 February, 2010

I’ve started setting the Wallace Stevens poem The Snow Man for tenor and piano. Here’s a draft of the first 1 and 2/3 stanzae. The accomapniment is a 13-half-note pattern, varied at the close of the first stanza, and transposed for the second. I likely won’t leave it that dull rhythmically, right now I want to finish the text setting before I elaborate the support.