I’ve made a couple of cool demo videos for you to take a peek at these two works I’ve got on the burner right now… 🙂
First, a look at “Ayre of Grievances” for flute, violin, and viola (a digital playback demo of just the opening section):
Second, here’s a short example of a cool sampling piece I’m putting together: “Tonal Eclipse”
Enjoy, and keep an eye out for the finished works soon!
Welcome to #NewTuneThursday!
I am fascinated by the lessons the study of counterpoint can teach us! Combining this love for the rules of counterpoint with my nature to set up systems of patterns and let them run (to see what happens…) I embarked on a creative experiment using three violins…
Completed in 2011 for the Rosé Violin Trio of Los Angeles, this complex and experimental work consists of three movements:
I. Intervallic Structure (Andante con moto)
II. Tone and Color (Meno mosso)
III. Urban Rhythm (Allegro ma non troppo)Based upon a strict and unvarying formula of patterns that are passed equally between the three violin parts, all three movements utilize this same precise structure of “A, B, C, and Ostinato” phrases, which were developed and plotted out meticulously by Wallin Huff prior to the actual composition of any one note. Each movement, however, while still based upon the same formulaic set of patterns, is then varied by the compositional material of the four phrases themselves. The phrases’ material is each based upon very different scalar patterns, depending on the particular movement’s character: Intervallic Structure is an exploration of pitting certain intervals against each other; Tone and Color is a wash of purely tonal and consonant patterns; Urban Rhythm strictly focuses on the pitting of rhythmic patterns of two’s versus three’s against one another in a “sterile” pentatonic tonal environment.
Counterpoint Invariable is a successful thought-experiment, turned to driving and evocative emotional artwork, highlighting Wallin Huff’s ongoing fascination with the logic of mechanical structure giving way to outward beauty. It is a true, fulfilling reward to perform and explore this work in its entirety.
This work was beautifully recorded by Parma and released on the Navona Records album, “Soul of the Machine” — Parma even recommended it to the Grammys!
Enjoy the recording of these three movements below…
“Counterpoint Invariable” can be performed by an advanced ensemble. Get the sheet music here! And stay tuned for our new work of next week…
Welcome to #NewTuneThursday!
Today’s tune is our next track from “Music for The Book of I” — Phillipy is Fragmented.
Phillipy refers to himself in the third person, as if existing as a separate entity from his very self. I find the habit interesting, a sport of sorts, a way of explaining one’s actions from a distance.
Phillipy knocks at the door…three times…
“…three times, that’s all Phillipy can take.”
He can tell when thoughts are tangled. He may speak in the third person but he is linear, he follows one thought with the next…
In creating this track, I wanted to really feature Phillipy’s autistic obsession with precision and the number 3 in the following ways:
And finally, toward the very end of the work (around 4:04), we hear the descending glide of the violins as Phillipy “goes to meet his mother”… and we finish with a stark, triplet rendition of the main theme from “I Know What Death Sounds Like“… a theme that tends to emerge everywhere you look in this Suite… 😉
Enjoy the recording of “Phillipy is Fragmented” below — featuring Darrell Peries on solo violin; Cathy Alonzo on solo viola; and Jenna Ford on solo cello.
This heart-wrenching little musical sonnet 🙂 can be performed by an intermediate-advanced trio. Get the sheet music here! And stay tuned for our new work of next week…
My album, SOUL OF THE MACHINE, is now on the first round ballot of the 57th Grammy Awards!!!
Hooray! I’ve just finished the writing of my second theme for “The Book of I” — Phillipy is Fragmented, composed for solo, amplified string trio (violin, viola, and cello) with string orchestra.
Yesterday’s recording sessions were a fabulous success!
Counterpoint Invariable went like clockwork– the three talented ladies who played it nailed it nearly every single take, and they made the work come alive in ways I could only have hoped for!! (In fact, the producer of these two recordings had this to say of the violin trio: “I got totally lost in the 2nd movement of the trio for the simple reason it was so very lovely – really very special.”)
And, as I’ve mentioned, Gypsy Wanderer sounds thoroughly amazing! Passionate, on fire, beautiful… All the emotional moments in the work come alive and were captured for all to hear soon.
Keep your eyes out for news of the release of this album— you won’t want to miss the final product from all this work, seriously… It’ll be available really really soon, within only a few more months!!!!! ヽ(^o^)丿
Greetings! I thought everyone might be interested in a single post where demos of the five compositions that will be included on my upcoming PARMA album could be found… so that you can take a listen to just a small sample of the awesome-ness that we are producing and that YOU are a vital part of! 
In no particular order, the new works to fill this exciting album are:
Spread the word! Let’s get this project funded!
The contract with PARMA Recordings for the recording, design and release of my next three compositions with them (“Counterpoint Invariable,” “Adoré,” and “Gypsy Wanderer“) has been fully negotiated and signed! We’re Moving Forward!
And I just have to say how much I Love and Respect PARMA! They are a WONDERFUL company to work with! <3
Now’s the time to contribute to this campaign! View the home-base site here, or visit the Indiegogo Campaign here — There are ONLY 17 DAYS LEFT to take part in the Indiegogo Campaign!
Spread the word, and let’s get this show on the road!
Come hear the Rosé Trio perform works by Vitali, Danielle Cummins 😉 , Emanuel Moór, and Moszkowski! THIS FRIDAY NIGHT, 8pm, University of La Verne, Morgan Auditorium in Founders Hall – on 3rd Street near B Street, La Verne.
