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Thank you very much for the detailed response! I do appreciate that, and I would agree about the shortness however as you had mentioned, it is the 10th movement (or perhaps 'chapter' would be more accurate) out of 32, and they are mostly attaca with several breaks in between 6 or 7 of the larger divisions of music. There are a number of other chapters that bring back thematic material and similar textures, etc., but on the whole there are also many sections that are quite radically contrasting. I'll be certain to post more when I have them. Glad that you enjoyed it, and I appreciate the "nitpicking"! - Jason

out of date

Thank you, I appreciate that very much! Anyone's thoughts or comments are certainly appreciated! - Jason

http://www.youtube.com/watch?v=MdPT8hTTTxA?fs=1&hl=en_US&rel=0 (Hmmm, the embedded video code no longer seems to be working, try this: http://www.youtube.c...h?v=MdPT8hTTTxA The Gods of Pegana (Mvt. X) The Gods of Pegãna (A Tone Poem for Large Orchestra) by Jason Thorpe Buchanan is based on a 1905 fantasy/alternative creation novel of the same name by Irish author Lord Dunsany that proposes: There are in Pegãna Mung and Sish and Kib (the gods of death, time and life), and the maker of all small gods, who is MANA-YOOD-SUSHAI, who made the gods and hath thereafter rested. And none may pray to MANA-YOOD-SUSHAI but only the gods whom he hath made Because he was weary after the making of the gods, and because of the drumming of Skarl, did he grow drowsy and fall asleep But at the last will MANA-YOOD-SUSHAI forget to rest, and will destroy the gods whom he hath made And there shall be only MANA-YOOD-SUSHAI. But, when at the last the arm of Skarl shall cease to beat his drum, silence shall startle Pegãna like thunder in a cave, and MANA-YOOD-SUSHAI shall cease to rest. This is the tenth chapter of thirty-two that make up the novel and orchestral tone poem (work in progress). The first eight have been completed in a Chamber format (nine-piece ensemble) and three movements were read by a student orchestra in August, 2010. For more information on the composer, please visit http://www.jasonthorpebuchanan.com For more information on this work or to purchase the score and parts, please visit: http://www.melosmusi...peganasuite.php The Gods of Pegana (Mvt. X; Reading Session))

Well I am glad you think so, but I didn't delete it, the moderator did.

Thank you everyone for your comments, here is an encrypted PDF available for download. Document Password: youngcomposers I really appreciate any additional suggestions or comments, - Jason Thorpe Buchanan http://melosmusic.com/img/scores/encrypted/zarzuela-jasonthorpebuchanan.pdf

Regarding the previous post, I agree that the orchestration is a little too dense in these sections, and that there is probably too much independence of voices. I think in future works, I will consider limiting the number of voices that are sounding simultaneously. However, these two video clips are only short excerpts of the busier/more intense moments, the rest of the work contrasts these with a much lighter character and clearer texture. Thank you for your input! Perhaps I will post a short segment of the ending so that you can hear some contrast. - Jason

I just had a work premiered by the Tad Wind Symphony in Tokyo, Japan and am curious what your thoughts might be regarding the orchestration. This is my first work for large ensemble, and I would appreciate any suggestions that might aid my orchestrational technique for next time around. First impressions are perfectly fine. I am hesitant to post the entire work, as the ensemble is releasing a recording in October, but here are a few excerpts of the video I took in Tokyo. Thanks so much, - Jason Thorpe Buchanan Excerpt No. 1 (1:59 of 8:38) http://www.youtube.com/watch?v=uoAzCrotm3s&hl=en&ap=%2526fmt%3D18 Excerpt No. 2 (0:41 of 8:38) http://www.youtube.com/watch?v=CNMMm-2pML4&hl=en&ap=%2526fmt%3D18 A Zarzuela & Other Lost Works for Wind Ensemble by Jason Thorpe Buchanan was written between June and October 2007. A first attempt at writing for large instrumental ensemble, with the encouragement of Dr. Edward Harris of the San Jos

I think perhaps you should focus on acquiring as many systems of organization as possible and slowly introducing them into your compositional process. If this issue has to do with being a "perfectionist" and therefore limiting yourself to only certain harmonies, aesthetics, etc. try to learn new ways to generate harmonic material, rhythmic material, etc.

No thoughts? Anyone? Going once?

This is a work that I recently finished and conducted the premiere of. Read the program notes below for a description of the compositional process. There were a handful of revisions during the rehearsal process, so not everything is reflected in the score. Please comment, I greatly appreciate any feedback! Hope you enjoy, - Jason YouTube - Vasava (Lord of the Spheres) for Brass Ensemble by Jason Thorpe Buchanan Vāsava (Lord of the Spheres) for Brass Ensemble by Jason Thorpe Buchanan was written between December 2008 and January 2009. After a trip to the Asian art museum in San Francisco, I was reminded of my interest in Indian culture and their systems of organization in music. This work largely incorporates the Indian desi-tala system of rhythmic cycles, which are treated relatively strictly throughout the entire work. Each of the 120 ancient talas have specific cultural, spiritual and emotional associations and are used for specific events and situations. While visiting the museum and reading some Hindu mythology, I became intrigued by the idea of writing a series of character pieces for various instrumentation based on Hindu deities. The title is Sanskrit, and its English translation is "Lord of the Spheres". This name is often used interchangeably with the more commonly known "Indra", the god of thunder, lightning and rain. The title Vasava is in reference to Indras position as leader of Vasus, name for a group of Hindu (Vedic) gods. They are considered eight deities attendant on Indra, comprising day, dawn, fire, moon, pole star, sun, water, and wind. This work was commissioned by Takayoshi "Tad" Suzuki and the UNLV Brass Ensemble for a performance in May 2009 to be conducted by the composer. Performance information: Jason Thorpe Buchanan, conductor UNLV Brass Ensemble, Takayoshi "Tad"Suzuki, director May 1, 2009, Las Vegas, NV For more information, please visit: Jason Thorpe Buchanan or Melos Music The attached score is password protected and unavailable for printing or editing. Unauthorized reproduction is strictly prohibited. Document open password: youngcomposers VASAVA - Jason Thorpe Buchanan - score for young composers.com.pdf

The third annual N.E.O.N., Nevada Encounters of New Music, the composers' symposium and festival at the University of Nevada, Las Vegas, offers five days of intensive activities including concerts and seminars. See poster for activities or visit N.E.O.N. (Nevada Encounters of New) Music Festival to stay up to date on festival concerts, seminars and events. Composers in Residence: Thomas Flaherty Augusta Read Thomas Ricardo Zohn-Muldoon Virko Baley Jorge Grossmann Ensembles: TALEA Ensemble NEXTET Works by: Tuesday April 7: Virko Baley Wednesday April 8: Andrew McPherson, Fusun Koksal, Giacinto Scelsi, Wah Hei Ng, Jorge Grossmann Thursday April 9: Karen Park, Karlheinz Stockhausen, Paolo Cavallone, Eun Young Lee, Bernard Rands Friday April 10: Luke Dahn, Thomas Flaherty, Ralph Shapey, Ricardo Zohn-Muldoon Saturday April 11: Brian Penkrot, Jason Thorpe Buchanan, Yiwen Shen, Eduardo Caballero, Augusta Read Thomas

Yes, I spoke to her about the number of notes and we felt that the number is not as important as that it feel organic to her .The piece is generally open to some rhythmic interpretation (note that there is no meter signature either). Regarding the title, I think of it more as a compositional study, as I have never worked with desi-talas before, and it also explores serialism. Additionally, its not a piano etude in the traditional sense, as a focus on a specific technique, but the gestures are very specific in the way the piano is treated. I think that whether or not it evokes the character is subjective and will differ from person to person. If you read the story of Karttikeya, I get the sense of introspectiveness and also a sort of quiet despair. If you think of warriors before battle, I almost imagine a sort of meditative state with emotional outbursts that happen intermittently. It may or may not be what someone else would imagine, but I think that the piece evokes that idea. In other words, its not supposed to be a battle scene, but a look into the personality of this deity. There are some functional harmonies present, but it is serial and the matrix is treated quite strictly. Any departures from strict serialism are made for specific artistic reasons. If you look at the matrix, there are many m2nds/M7ths present, so I think that is self-explanatory. I did however try to be very careful in how I treated each interval within the motivic gestures. I hope this answers your questions, thanks for asking! I'd appreciate any other comments that any of you might have. - Jason

Here is a link to the video of the premiere: YouTube - Ka?rttikeya (Study No. 1) by Jason Thorpe Buchanan - Cristina Vald

Thank you all for the comments! Regarding the use of shapes as subtitles, the intention was not really to represent the shapes musically, but to utilize them as a structural tool. Much of the pitch material, rhythmic material and other structural elements were based around each of these geometric figures. However, I agree that this did not come across very clearly. I think that integrating these shapes on a more surface level would provide a much richer experience for listeners/something to grasp. (If I give them this programmatic information) I was not entirely satisfied with the outcome of the work as a whole, and believe that there could be much greater contrast between movements. I think that one contributor to the lack of an emotional arch, has to do with the overuse of tremolo in the marimba + horn melody and not saving that texture for points that are emotionally climactic. I have considered paring down some the movements to shorten the overall length and prevent any repetitiousness. I think this is something I will go back and do in revisions when I have some time on my hands. Thanks everyone for the feedback. - Jason