Tonight I started my final composition. I love the cliche idea. It's such a great springboard. However, I found it difficult at first to compose an original march-like melody (did i mention I'm doing the march cliche?). I want to start off somewhat typically, have a 'crashing' moment and then restart the march much more crazy and less tonal. Other marches I'm familiar with would get stuck in my head and sound so much better than my attempts. I finally managed to get something I liked for the trombone line and then tried to work out the tuba bass line. I think I will try my best to get a hold of a computer program, even if just to have something played back to me because my piano skills don't allow me to hear what I've composed. Since marches are so predictable in who has what role, I'm planning on doing some role reversal between the brass players and percussionist. I'm also investigating the idea of odd meters and incorporating world music (elements of marching music from South Asia).

My final character piece was played on Friday in class. (Thanks to Chris Miller- the fill-in trombonist). It was great having Chris play my piece since he loves the trombone sooo much and gave me some really helpful feedback, such as one note I had written for the pedal range of the instrument wasn't really possible. However, he did say it was pretty idiomatic for the trombone- something I've been really trying to focus on, especially since the trombone is (for me) such an interesting and unique instrument.

I was pretty pleased as well with the performance o f the piece because nobody picked out what I feared would be its demise. Sometimes it's what people don't say that makes you happiest. The piece took form out of various ideas that I had discreetly. Trying to format them into a coherent whole was quite the undertaking. I'm still looking at how I can meld them in the best way possible.

I used a pianistic motive for much of the piece (thanks Kim for helping me!!) and it was suggested that this should develop and permeate more of the piece, which I will definitely try to amend.

Friday past my first two character pieces were played.
"Adrift"- the heavily revised edition of my first piece- went better than I expected. I really tried to simplify the first version, which worked much better. The class even remarked that it sounded good played out of time, so i should incoroprate instructions for tempos to reflect and imitate that (rubato, rit, etc.) to really capture the timeless element of the piece.
My second piece (which if I had had any extra time and sympathy on my performers I would not have made them sight read) went over similarly well. I think that the class may have been surprised by the blatant humour of the piece. I need to revise some notation to make it easier for the performers to read and also consider the trombone and piano crossing voices in a similar range. Altogether, a much more satisfactory feeling than my disappointing debut two weeks before.

Just a note on titles, it is sometimes difficult to come up with a good title for a piece- one that adequately describes what you're going for, does or doesn't provide programmatic information, rhymes/ alliterates with your other character pieces...so much to consider. It's almost as difficult as writing the piece (almost being the key word there). Dictionary.com helped me with "adrift". I feel a sense of searching in that piece and "adrift" not only captures that, but also adds a wonderful imagry to the piece. However, "audacious"-I learned- is not the same as "cheeky" so I'm still working on that one.

My final piece is proving to be very difficult for me to start. I want to create a dark, stormy, foreshadowing-something-bad, powerful character. I think the piano part i am envisioning may be beyond my abilities to score...and i'm finding it difficult to draft melodic material that suits the purpose. This will be a good challenge!

I am finding that rhythm really inspires me in composing. Today, instead of fiddling with notes and chords to figure out what I wanted in one section of my second piece (the arbitrary method I've been using), I drafted five bars of rhythm and afterwards filled out the rhythm with actual pitches. It really sped up the process for me.
I suspect that it may be my poor aural skills that makes this such a good option as a method of composing for me. I am very strong in rhythmic dictation and notation and very weak in the melodic and harmonic areas.