I Celebrate Life (the second and last movement of the Light Cycle suite), commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets the beautiful poem by Rhoda Gordon, the composer’s late grandmother, for SATB (orig. SSA) Choir and Piano. The piece opens with an excited yet hushed ostinato in the Piano. The choir sings the first four lines of the poem by repeating the beginning line and adding the next line until it is complete, utilizing the modern technique of additive processes popular in Minimalism. In the more pensive middle section, the ostinato transforms into a more poignant texture as the Choir “realizes the joy of being through seeing the glorious creation” that they are a part of. The ostinato then speeds up and returns to the hushed excitement heard in the opening. The piece concludes with the Choir building up to the most important line of the text: “The most powerful light to celebrate by is love.”
This piece is suitable for any Mixed-Voice ensemble.
I Celebrate Life (the second and last movement of the Light Cycle suite), commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets the beautiful poem by Rhoda Gordon, the composer’s late grandmother, for SA (SSA divisi) Choir and Piano. The piece opens with an excited yet hushed ostinato in the Piano. The Choir sings the first four lines of the poem by repeating the beginning line and adding the next line un.l it is complete, utilizing the modern technique of additive processes popular in Minimalism. In the more pensive middle section, the ostinato transforms into a more poignant texture as the Choir “realizes the joy of being through seeing the glorious creation” they are a part of. The ostinato then speeds up and returns to the hushed excitement heard in the opening. The piece concludes with the Choir building up to the most important line of the text: “The most powerful light to celebrate by is love.”
This piece is suitable for any Treble-voiced ensemble. It may be performed as a stand-alone piece or paired with Light Up as the complete Light Cycle suite.
Light Cycle was premiered on December 12, 2019 by the Graham Middle School Choirs conducted by Jennifer Gaderlund in Mountain View, CA.
Light Up (the first movement of the Light Cycle suite), commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets the beautiful poem by Rhoda Gordon, the composer’s late grandmother, for SA (Opt. SSA) Choir and Piano. The Piano features a constant rhythmic motor, representing our hopefully constant dancing throughout life. The Sopranos and Altos begin in unison and then break into harmony as the texture unfolds. The middle section contains a round between the Sopranos and Altos, with the Altos offset by two beats. A third (optional) descant part sings above the round between the Sopranos and Altos. The opening material returns with the repeated text “Think light rays” but develops the material further with a few moments of divisi. The piece dramatically builds as the choir repeats the word “glow”, finally resolving with the call to “glow and dance”. The Piano’s rhythmic motor finally comes to a rest at the last measure.
This piece is suitable for any Treble-voiced ensemble. It may be performed as a stand-alone piece or paired with I Celebrate Life as the complete Light Cycle suite. The round in the middle section is a great way for any Treble-voiced ensemble to explore polyphony and part independence. The descant and divisi parts may be included or omitted depending on the needs of the ensemble.
Light Cycle will receive its premiere on December 12, 2019 by the Graham Middle School Choirs conducted by Jennifer Gaderlund in Mountain View, CA.
Light Cycle is a two-movement suite for Intermediate to Advanced Treble ensembles. The suite, commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets two beautiful poems by Rhoda Gordon (Light Up and I Celebrate Life), the composer’s late grandmother, for SA (SSA divisi) Choir and Piano.
Light Up is the first movement of the Light Cycle suite. The Piano features a constant rhythmic motor, representing our hopefully constant dancing throughout life. The Sopranos and Altos begin in unison and then break into harmony as the texture unfolds. The middle section contains a round between the Sopranos and Altos, with the Altos offset by two beats. A third (optional) descant part sings above the round between the Sopranos and Altos. The opening material returns with the repeated text “Think light rays” but develops the material further with a few moments of divisi. The piece dramatically builds as the choir repeats the word “glow”, finally resolving with the call to “glow and dance”. The Piano’s rhythmic motor finally comes to a rest at the last measure.
I Celebrate Life is the second and last movement of the Light Cycle suite. The piece opens with an excited yet hushed ostinato in the Piano. The choir sings the first four lines of the poem by repeating the beginning line and adding the next line until it is complete, utilizing the modern technique of additive processes popular in Minimalism. In the more pensive middle section, the ostinato transforms into a more poignant texture as the Choir “realizes the joy of being through seeing the glorious creation” they are a part of. The ostinato then speeds up and returns to the hushed excitement heard in the opening. The piece concludes with the Choir building up to the most important line of the text: “The most powerful light to celebrate by is love.”
Light Cycle is suitable for any Treble-voiced ensemble. The pieces may be may be performed together or as stand-alone pieces. Both pieces explore imitative polyphony and would be a great way for any Treble- voiced ensemble to explore polyphony and part independence. The SSA divisi may be included or omitted as suited to the needs of the ensemble.
Light Cycle will receive its premiere on December 12, 2019 by the Graham Middle School Choirs conducted by Jennifer Gaderlund in Mountain View, CA.
Continue reading Light CycleOcean Poems contains musical settings of two poems from a set of poems of the same name by Jonathan Talberg, Director of Choral, Vocal, & Opera Studies at California State University, Long Beach (where the composer completed her graduate studies). Each poem in the set is dedicated to an important person in the poet’s life.
When We’re Gone 10,000 Years from Ocean Poems sets the beautiful poem of the same name by Jonathan Talberg. This piece uses hocket-like interplay between the vocal parts and metric displacement to create rhythmic propulsion. There is a limited set of rhythmic motifs used throughout the piece, including eighth note and quarter note groupings, triplets, and metric displacement. The technique of text painting is used for certain words to bring the text to life, such as soaring, howling, and tumbling.
I’m Still Here from Ocean Poems, sets the poignant poem of the same name by Jonathan Talberg. The poem is dedicated to Al Talberg (1928-2018), Talberg’s father. The piece opens with an insistent rhythmic motor, which is passed among the parts throughout the piece. The constant motion of the repeated text symbolizes the continuing presence of our loved ones, stating “I’m here. I’m still here.” This rhythmic motif continues in various permutations until the final chord, finally resting on the words “I’m still here twixt sea and sky,” reminding us that our loved ones are always with us.
These pieces may be performed as a suite or as stand-alone pieces. This suite would be suitable for advanced high school, collegiate, and professional choirs.
I’m Still Here, the sixth poem from Ocean Poems, sets the beautiful poem of the same name by Jonathan Talberg, Director of Choral, Vocal, & Opera Studies at California State University, Long Beach. The poem is dedicated to Al Talberg (1928-2018), Dr. Talberg’s father. The piece opens with an insistent rhythmic motor, which is passed among the parts throughout the piece. The constant motion of the repeated text symbolizes the continuing presence of our loved ones, stating “I’m here. I’m still here.”. This rhythmic motif continues in various permutations until the final chord, finally resting on the words “I’m still here twixt sea and sky”, reminding us that our loved ones are always with us.
This piece may be performed as a stand-alone piece or paired with When We’re Gone 10,000 Years as the complete Ocean Poems suite. This piece would be suitable for advanced high school, collegiate, and professional choirs.
When We’re Gone 10,000 Years from Ocean Poems sets the beautiful poem of the same name by Jonathan Talberg, Director of Choral, Vocal, & Opera Studies at California State University, Long Beach. This piece uses hocket-like interplay between the vocal parts and metric displacement to create rhythmic propulsion. There is a limited set of rhythmic motifs used throughout the piece, including eighth note and quarter note trios, triplets, and metric displacement. The technique of text painting is used for certain words to bring the text to life, such as soaring, howling, and tumbling.
This piece may be performed as a stand-alone piece or paired with I’m Still Here as the complete Ocean Poems suite. This piece would be suitable for advanced high school, collegiate, and professional choirs.
The Contemporary Child: A Set of Eleven Contemporary Pieces for the Beginner to Intermediate Piano Student introduces various 20th-century techniques, such as polymodality, aleatory (chance music), and additive processes to the beginner to intermediate piano student. These pieces are designed to be playable by younger hands while still teaching important modern musical concepts. Each piece can be played by itself, as part of an abridged set, or as part of the full set.
- Lemonade at Home
- Shadow Melody
- Folk Song
- Black Forest
- The Elephant and the Mouse
- Choose Your Own Adventure! No. 1
- The March of Memories
- Choose Your Own Adventure! No. 2
- Grasshopper
- Add On (Additive Processes)
- The Enchanted Castle (Duet for 4-hands)
I. Whirlpool
II. Tritonic
III. The Golden Spinning Wheel
IV. Cell-Phone Symphony
Solo Piano Suite is suite for solo piano containing four contrasting short pieces. Each movement can stand alone, as part of an abridged set, or as part of the entire suite.
Whirlpool is based on a flourishes of color inspired by Claude Debussy. It is in the Mixolydian mode, which lacks the tension-filled raised leading tone found in the major scale. This gives the piece a calmer and more soothing feel.
In sharp contrast to Whirlpool, Tritonic is harmonically jarring and unsettling as it is based on quartal stacks of tritones, an interval which has long been viewed in the music world as unstable. The piece also uses the cross-rhythm of three-against-two, creating a syncopated feel between the right and left hands.
The Golden Spinning Wheel utilizes fast, pianistic turns to represent the mechanics of a spinning wheel.
Cell-phone Symphony is a Prokofiev-inspired piece with a simple theme accompanied by odd and sometimes wandering harmonies. This piece explores fast registral shifts, short melodic ideas inspired by cell-phone ring tones, and advanced piano techniques, such as hand overlapping.
Continue reading Solo Piano SuiteMarginalia is a three-movement suite for solo piano inspired by Impressionist composer Claude Debussy, particularly his piano preludes. The term “marginalia” refers to the notes found within the margin of a book. The three movements in Marginalia live in their own structural, tonal, and rhythmic world. All three pieces rely heavily on the use of seconds and sevenths, which are inherently ambiguous and lead the ear away from traditional harmony. Marginalia I opens with a colorful, rhythmic flourish similar to the flourishes found in Debussy’s piano prelude Bruyeres. These flourishes are found throughout Marginalia I and II. Marginalia III opens with a pentatonic melody, a favored scale of Debussy, which is then accompanied by quartal stacks.
This set would fit nicely into any chamber or solo recital, particularly alongside pieces by Debussy or Ravel.
Continue reading Marginalia: I, II, and III