Sponsored by Yale College New Music:
Featuring Da Capo Chamber Players
Nov 2018-February 2019 – Da Capo Players Residency Schedule:
1. Submission #1: Wednesday, 11/21: Submit the first version of your chamber piece – both the score and parts – as either .sib, .musx or .xml files AND .pdf files (no handwritten submissions) on the designated Canvas Submission page. Your chamber piece should be between 3 & 1/2′ and 4 and 1/2′ in length. Once it is approved by Dr. A & Konrad, they will forward it to the Da Capo Chamber Players.
2. Thursday, 11/29, 2018: Rm. 106 @ 2:30 pm – “Critique 1” Workshop w/ the Da Capo Chamber Players.
4. Winter Break!: Incorporating the November critique of your chamber piece, finish composing your chamber piece entirely finished and very polished!
5. Submission #2: Monday, 1/28: Submit the polished, revised version of your chamber piece – score and parts – as either .sib, .musx or .xml files AND .pdf files (no handwritten submissions) on the designated Canvas Submission page. Once it is approved by Dr. A & Konrad, they will forward it to the Da Capo Chamber Players. You must also include a Word file with the following:
- Your bio: 150-word count limit
- Program notes: 150-word count limit
- Title: the title of your chamber piece as you wish it to appear in the program
6. Monday, 2/11, 2019: Rm. 407 from 10:00 am to 4:00 pm – “Critique 2” Workshop w/ the Da Capo Chamber Players.
5. Submission #3: Thursday, 2/14: Submit the final, completed version of your chamber piece – both the score and parts – as either .sib, .musx or .xml files AND .pdf files (no handwritten submissions) on the designated Canvas Submission page here. Once it is approved by Dr. A & Konrad, they will forward it to the Da Capo Chamber Players.
7. Thursday, 2/28: Da Capo Chamber Players Concert @ Beinecke Library. Time 5:15 p.m.
- Study the recommended chamber music repertoire.
- Judd Greenstein, At the End of a Really Great Day
- Clint Needham, Toccatas, Recits, and Aria
- Milton Babbitt, Composition for Four Instruments
- Elliott Carter, Canon for Four – Homage to William
- George Perle, Sonata a Quattro: Mvt. I – Introduction and Allegro, Mvt. II – Scherzo, Mvt. III – Noctturno, Mvt. IV – Finale
- More coming soon …
A. Create rhythmic motives with at least three rhythmic note values, though you may certainly use many more. Use these rhythmic motives and derivations or variations of them throughout your chamber piece.
- 1. Use a moderate metronome marking of your choice.
- 2. Use a mixed meter scheme of your own design.
- 3. Instrumentation of a duo, trio or quartet as assigned by Dr. A & Konrad.
- 4. Dynamics and expression marks that are professionally notated.
B. Next, use a harmonic structure based on a minimum of at least two different third-related modes of your choice. Use a formal structure that you design.
- 1. Again, use a minimum of two different third-related modes in any pitch-centric syntax whether it’s the major or minor modes; other modes such as Phrygian, Dorian, Lydian, Mixolydian or those modes in combination; OR, other synthetic scales that you design. You MAY also use atonal or serial pitch techniques.
- 2. Modulate at least once to the third-related mode from your original G or A pitch center. Return to your original pitch-centric syntax, or modulate to an additional third-related mode.
- 3. Duration: No longer than 6′ total as either a single movement work or two shorter movements that total 6′ together.
- 4. Optional: modal mixture; chromaticism; altered diminished or dominant harmonic treatments; atonality, serial pitch or rhythmic techniques, metric modulation. Other approaches that interest you.