When I arrived at the University of Pittsburgh, I had already spent four years experimenting with a variety of compositional techniques–12 tone, aleatoric, set theory–and I thought I was ready to “find my voice.” My comp teacher felt the same way. But when I brought some drafts to my first lesson he played through them and told me, “these could be really great as, like, comic relief to something more substantial.” Little did he know, these were my actual ideas.

In any case, I knew it was going to be a long semester, grad program, and possibly life. I realized that nothing but the most off-the-wall musical offerings would satisfy this particular prof, so I invented a non-repeating scale and wrote a page or two of uninspired, non-committal, but forward-thinking music each week before my lesson.

He loved it.

However, the ensemble that was contracted to perform the piece at the end of the semester was not as convinced. The percussion player said “I don’t want to embarrass myself,” and the flutist, who was Amy Phillips-soon-to-be-Scheer’s teacher said, “Greg needs to learn to write for the flute.”

However, the following year an ensemble, led by Rachel Rudich, read the piece beautifully. The result is Tavala, MP3.

By the way, “Tavala” is a word that came to me while I was sleeping. Little did I know it was a Polynesian island.

Sadly, that momentary similarity may doom the entire composition for ever. But I’ll let you decide: Inv for Orch, movt 3, MP3.

For a long time I’ve been obsessed with M.C. Escher. My question has always been, “what would Escher have created were he a musician?” Well, he would have been J.S. Bach, of course. But what would Escher/Bach have created today, specifically if they were me?

I set about answering that question with a year of counterpoint lessons in 1993 and lots of piano sketches. Three of those sketches became Inventions for Orchestra. Movement #1 begins with the marking “Haydnesque,” but it soon morphs into something entirely different. And that’s the point. It continues to morph–like a fugue, but a fugue adrift at sea.

Special thanks to Roger Zahab for having the vision and fortitude (and lack of discretion?) to program music by unknown composers before it has even been composed.

Inventions for Orchestra, movt 1 (MP3)

This is a demo of the University of Pittsburgh Jazz Band playing “Budapest.” The song comes from a set of songs called the European Suite, which I wrote after returning from a year in Salzburg and vicinity in 1989. The following year I scored the movement “Budapest” for a jazz arranging class.

I would be entirely willing to score the entire set of songs for jazz band. (Yes, jazz band directors, that’s a hint.) Until that time, you’ll need to satisfy your European cravings with this aural bon bon: Budapest MP3.

The thing I like about this song is that it stretches the boundaries of song form. It goes all over the place, but never loses its way. The problem is that it is an absolute bear to play. The poor cello and viola fill in for bass and guitar, with rhythmic double stops that form the backbone of the groove. The violins have solos and fiddle rhythms. And then everyone has to stop on a dime and nail delicate harmonics. It’s a wonder they didn’t walk out on me when I passed out the music!

Take a listen to a work in progress: Palestrina, MP3.

PS – If you’re wondering why I keep composing given the fact that I’m dwarfed by people like Palestrina, it is best summarized by Henry van Dyke: “The woods would be very silent if no bird sang except the best.”

Check out videos from the whole concert here: http://elsalvadormusical.blogspot.com/2011/05/southern-harmonyconcert-at-baylor.html

There was a point about a week ago at which I was having doubts that I could coax this into a finished composition that did justice to the depth of the text and the simplicity of the melody. But now I’m really pleased with how it turned out. (And, no, I don’t always say that.)

Having complimented myself on the score, I’ll quickly add that I’m not particularly proud of the demo included here. It’s a combination of Finale playing the instruments and me singing both the children’s and men’s choir parts. But, hey–you work with what you’ve got. Take a listen to the demo or read the lyrics below.

1. Farewell, my dear brethren, the time is at hand
That we must be parted from this social band;
Our sev’ral engagements now call us away,
Our parting is needful, and we must obey.

2. Farewell, faithful soldiers, you’ll soon be discharged,
The war will be ended, your bounty enlarged,
With shouting and singing, though Jordan may roar,
You’ll enter fair Canaan, and rest on the shore. Farewell.

3. Farewell, younger brethren, just listed for war,
Sore trials await you, but Jesus is near;
Although you must travel the dark wilderness,
Your Captain’s before you, he’ll lead you to peace.

4. Farewell, trembling mourners, with sad, broken hearts,
O hasten to Jesus, and choose the good part!
He’s full of compassion, and mighty to save,
His arms are extended, your souls to receive.

6. Farewell, my dear brethren, farewell all around,
Perhaps we’ll not meet till the last trump shall sound.
To meet you in glory I give you my hand,
Our Savior to praise in a pure social band.