Mvt. IV - To Boldly Go

It has been about 9 or 10 months since I started work on "A Summer Symphony." Finally, the composition and an acceptable (to me) midi-performance are finished. After this, I want to polish up the score and parts, then post everything on IMSLP. I also intend to put my Sibelius files there if they will let me. If not, I will put my Sibelius files in one of the share sites, so at least during my lifetime, people can download the PDF score or the Sibelius score.

But now comes the final movement, which is all about the end of boyhood and embarking on the adventure that is adulthood!

"A Summer Symphony" – Fond memories of summer days of youth and coming of age in the 1960s.

Mvt. IV – To Boldly Go– "Star Trek" captured our imagination in 1966, the year I turned 13. It was a year of transition from boyhood toward becoming a young adult. The summer of my childhood ended, which seems sad in retrospect; but it also marked the beginning of new adventures and new personal frontiers to explore and experience. It was a time “to boldly go” where every man has gone before.

 

Thanks, @Dillon DeRosa for the kind words and support. Actually, I am not certain of my next project, but I am leaning towards doing some absolute music, devoid of any extra-musical meaning. That could be a symphony but don't know yet.

 

Thanks, Greg, I hope I do get to hear a live performance one day.

 

Wow, thank you @Matthias Calis for you comments and wonderful story. I truly appreciate hearing people like my work, as the encouragement helps me to keep trying to get better. Blessings to you, my friend.

 

Great questions! I started late summer or early fall of 2018. I had just finished writing "Brass Quintet in F minor" and began with the first movement. I suppose first came the idea to write a symphony about my memories of summer as a boy. I thought that would provide me with plenty of inspiration. I wanted each of the movements to be in a definite classical form. My favorite composers are Dvorak and Tchaikovsky, and in their symphonies, they were always loyal to the traditional forms. So I began working on the first movement knowing it should be a sonata movement, and wanting it to be upbeat and pastoral. While working on the first movement I developed the main ideas for the fourth movement concurrently. I was wracked with doubts about the fourth movement. I did not want people to think I was ripping off "Star Trek". Finally, based on advice from @Doug Gibson I decided to just cut loose and actually quote (sort of) the opening of the 1966 TV show to make it obvious I was writing about Star Trek and from that point it was just fun to write. I worked on the fourth movement off and on while writing the other movements. I used typical Hollywood sounding harmonies and just tried to keep the momentum. I was tempted to do more modulation and development. However, doing so would weaken the impression of "end credits" so I didn't. I did throw in a modulation to Db and return to C major near the end because my ears wanted a little harmonic variety.

By the way, @Doug Gibson was an enormous help to me in writing "A Summer Symphony" as well as the "Brass Quintet in F minor". My ears are old and not as sharp as they once were. Doug caught so many of my pitch mistakes that it is a bit embarrassing. He also offered many helpful suggestions, most of which I gratefully accepted. For example, in the first movement, as the exposition of the primary theme ends and an episode using the A theme material begins, Doug recommended I have the Horn play a long-held note to sort of bridge the two sections. His suggestion vastly improved the flow of the piece. And that was despite the fact that he didn't even like the episode at all. Many times various sections or ideas that I liked, Doug did not like at all. But despite that, he helped me with encouragement and sometimes suggestions for improvement.

Working with Doug was not like the composition lessons I had in college (I majored in music) because it was much better. Doug worked with me on a weekly basis for about 7 or 8 months. I set the agenda, and Doug tried to help me in any way he could. And yes, I did pay Doug for his time, and yes, in my opinion, it was money well spent! We all need encouragement, honest feedback, and someone who knows enough about our abstract art to actually offer knowledgable advice. Doug fits that description admirably.

Beginning in January I focused on trying to improve my midi-performances and also trying to get scores ready to post on the IMSLP website. So I haven't written anything new. But I sure miss writing new music, and I miss working with Doug. Perhaps soon I can get back to writing new pieces.

 

Oh, two more things that might help others. I work directly in Sibelius. Sometimes I use a keyboard to hammer out something, but not usually. As a general rule, I have to hear something in my mind first, then I write it in Sibelius. As I work on the draft of a new piece, I always have a "harmony part" where I keep track of the harmonies I am using. Sometimes I forget what I was trying to do, and the harmony track helps remind me. Also, sometimes I plan out the harmonies before I write out any melodic lines. And lastly, since I am no keyboard player, and never have been, I try to first write for the strings. I will then add one line for woodwinds represented by clarinets and one line for brass represented by horns. I try to resist the temptation to fully orchestrate a section until that section is drafted.

Well, that was probably more info that you wanted. Blessing to you my friend.

 

Thanks, I am sure I would benefit from your input! Plus it will be fun to get your reaction. Several years ago I mentioned to you that one of my musical goals was to somehow meld concert music and classic film music. I think this is as close as I have come so far. But I am sure it could be better.

 

@Doug Gibson sorry to hear you have been sick. I know from experience how hard it is to keep functioning when ill. I sure hope you feel better soon.