Declarations of Joy
One of the primary goals for this commissioned work was to have it represent a genuine statement of diversity while reflecting in part the philosophy of Martin Luther King, Jr. and those who stood with him to make this a better country and a better world. This work, originally composed for Denison University's gospel Choir and Orchestra, immediately provided a multi cultural foundation to build upon. My background as a jazz and classical musician, coupled with my experiences growing up in the dual musical environments of Episcopal and African-American Baptist churches were also great sources from which to draw upon.
The text chosen for DECLARATIONS OF JOY heavily influenced my approach to writing this work. The imagery and rhythmic qualities of the text generate the composition's motivic ideas, themes, and harmonic texture.
One of the basic characteristics of this work and my style in general is the integration of "Funk" or groove elements usually found in the cello, bass, and bassoon parts. The brass are frequently treated as a big band horn section providing rhythmic "punch" and intensity for the overlapping melodic lines of the chorus and strings. Another typical African-American characteristic found in this work is the use of Call and Response. Example: first movement, call "Praise Him with the timbrel and dance", response "Praise Him", call "Praise Him with the loud sounding cymbals", response- "Praise Him" or call "Praise Him" response- "Praise Him for his mighty acts". This technique can also be found in the third movement particularly in the refrain.
The first movement, EXULTATION, is based on Psalm 150, Praise Ye the Lord. It opens with a brass fanfare of the theme with string and woodwind responses followed by the chorus entrance.
The second movement, RENEWAL, was written in contrast to the first and third movements' massive choral an orchestra sound. My intent was to write a melody for the A section based on Isaiah to be reminiscent of a Negro Folksong or spiritual with a traditional counterpoint accompaniment. The B section of this movement using Psalm 121 would reflect the hymns and anthems I performed in the Episcopal Church. The harmonic progression for this section would have at times a contemporary or jazz treatment. This movement concludes with a repeat of the A section.
The text for the third movement, AFFIRMATION, is based on Matthew 5, the Beatitudes. This text has always impressed me as a message of defiance, strength, and beauty. It affirms that those who remain "Pure in Heart" and are willing to care and provide for those in need are truly "the light of the world" and the "salt of the earth." The introduction for this movement is intended to have an angelic quality with a subtle underlying message of power signified in the pulsating bass figure. The refrain of rejoicing is a jubilant revelation of the rewards awaiting those who are merciful, peacemakers, and pure in heart.
The text chosen for DECLARATIONS OF JOY heavily influenced my approach to writing this work. The imagery and rhythmic qualities of the text generate the composition's motivic ideas, themes, and harmonic texture.
One of the basic characteristics of this work and my style in general is the integration of "Funk" or groove elements usually found in the cello, bass, and bassoon parts. The brass are frequently treated as a big band horn section providing rhythmic "punch" and intensity for the overlapping melodic lines of the chorus and strings. Another typical African-American characteristic found in this work is the use of Call and Response. Example: first movement, call "Praise Him with the timbrel and dance", response "Praise Him", call "Praise Him with the loud sounding cymbals", response- "Praise Him" or call "Praise Him" response- "Praise Him for his mighty acts". This technique can also be found in the third movement particularly in the refrain.
The first movement, EXULTATION, is based on Psalm 150, Praise Ye the Lord. It opens with a brass fanfare of the theme with string and woodwind responses followed by the chorus entrance.
The second movement, RENEWAL, was written in contrast to the first and third movements' massive choral an orchestra sound. My intent was to write a melody for the A section based on Isaiah to be reminiscent of a Negro Folksong or spiritual with a traditional counterpoint accompaniment. The B section of this movement using Psalm 121 would reflect the hymns and anthems I performed in the Episcopal Church. The harmonic progression for this section would have at times a contemporary or jazz treatment. This movement concludes with a repeat of the A section.
The text for the third movement, AFFIRMATION, is based on Matthew 5, the Beatitudes. This text has always impressed me as a message of defiance, strength, and beauty. It affirms that those who remain "Pure in Heart" and are willing to care and provide for those in need are truly "the light of the world" and the "salt of the earth." The introduction for this movement is intended to have an angelic quality with a subtle underlying message of power signified in the pulsating bass figure. The refrain of rejoicing is a jubilant revelation of the rewards awaiting those who are merciful, peacemakers, and pure in heart.
Spirit, Sun and Shadow Dance
SPIRIT, SUN AND SHADOW DANCE is based on a photograph by Roy DeCarava entitled SUN AND SHADE. The photograph consists of two little boys playing in the streets of Harlem. One of the boys is running in the shade of a tall building while being pursued closely behind by his friend, chasing him on the sun drenched portion of the pavement. They appear to be playing cowboys or cops and robbers, oblivious to their own surroundings, dwelling solely in their own imaginary world. The photograph evokes a sense of free spirited play, restlessness, constant pursuit and inquiry, and a genuine joy of life.
The opening triplet figure of SPIRIT, SUN AND SHADOW DANCE followed by a set of dissonant eighth notes, depicts the boys running and shooting at each other while laughing the whole time. This triplet figure and the recurring eighth and two sixteenth note pattern found throughout the composition represent their seemingly endless energy and desire for perpetual movement. A quasi lullaby counter melody is introduced to the composition, as well as a child-like music passage reminiscent of piano lessons for beginners. These two additional motivic ideas imply the boys' eternal commitment to play. At times their play is disrupted by their parents, insisting they indulge in more mundane activities, such as taking a daily nap or improving their piano skills. The boys' impatience with these activities becomes apparent when the consistent tempo of these melodic lines continue to accelerate until they finally break free.
The improvisation section is rooted by a repeated eight bar pattern in D minor and performed by the lower strings of the orchestra. The modal tonality of sound is interspersed with contrasting atonal, nebulous chords. This section is indicative of the steady flow of city life with its moments of chaos and unexpected problems. The solo flute improvising on top of this harmonic structure represents the two boys interacting with their environment while at the same time creating their own world in the midst of the urban surroundings. The composition concludes with the recapitulation of music lines conjuring visions of the boys on their continual quest of games and fantasy.
The opening triplet figure of SPIRIT, SUN AND SHADOW DANCE followed by a set of dissonant eighth notes, depicts the boys running and shooting at each other while laughing the whole time. This triplet figure and the recurring eighth and two sixteenth note pattern found throughout the composition represent their seemingly endless energy and desire for perpetual movement. A quasi lullaby counter melody is introduced to the composition, as well as a child-like music passage reminiscent of piano lessons for beginners. These two additional motivic ideas imply the boys' eternal commitment to play. At times their play is disrupted by their parents, insisting they indulge in more mundane activities, such as taking a daily nap or improving their piano skills. The boys' impatience with these activities becomes apparent when the consistent tempo of these melodic lines continue to accelerate until they finally break free.
The improvisation section is rooted by a repeated eight bar pattern in D minor and performed by the lower strings of the orchestra. The modal tonality of sound is interspersed with contrasting atonal, nebulous chords. This section is indicative of the steady flow of city life with its moments of chaos and unexpected problems. The solo flute improvising on top of this harmonic structure represents the two boys interacting with their environment while at the same time creating their own world in the midst of the urban surroundings. The composition concludes with the recapitulation of music lines conjuring visions of the boys on their continual quest of games and fantasy.