AaronForrestCoff

So tbh, I have no files to upload yet, as I have just started this project. I WOULD start a topic in the "incomplete works section", BUT encountered the following problem: because i have just started the project, and just wanted to upload some background info, Notes, etc. to comment on or share or whatever, It wouldn;t let me start a topic there. so here goes. Shir L'hodot, or "song to thanks" is a piece for concert band (with added solo bass and solo cello) which is intended to showcase some core concepts of judaism by painting them in music. Despite the title, it is in reality centered around 3 "prayers" and snippets and segments of their traditional melodies (which have been around for hundreds of years): Kol Nidre (All Vows), Sh'ma (Hear), and Aleinu (Duty). So some background information on each. Note: I am specifically leaving out the k'dushah (Kadosh, Kadosh, Kadosh hashem tzivaot - Holy Holy Holy is the lord of hosts), because it was ripped from the Hebrew about 800 or so years ago for the Catholic Sanctus. REALLY no offense intended to Christianity and Christians, I love you guys all the same, but I would like to keep as far away from those texts as possible within this piece. I really don't want this compared or contrasted to Christian Sacred music, on any level. Kol Nidre: it is a prayer that is sung only on Yom Kippur, has a main theme of judgement and annulment, and specifically represents forgiveness. This theme prevails on the cello, most times that it appears throughout the piece. it is a haunting melody, that is in a prevailing key of D Minor. Sh'ma: it is a prayer that is said every day. Some background before I go into its importance: Jews are forbidden to say blessings in vain. So... when there is a fear that a blessing or prayer is being said in vain (i.e. you think you have already said it for the situation, etc. but are not sure.) you are supposed to follow it up with the line "baruch shem k'vod malchuto l'olam va'ed" which means "bless your name and glorious kingship, which shall abound forever", which in essence annuls the blessing. However, there is one blessing that is of such magnitude, that we are unable to recite it without the additional line in our current lifetimes. This is the Sh'ma, which is a blessing for oneness and unity: "Sh'ma Yisrael, hashem elokeinu, hashem echad" or "hear o' israel, the lord is our god, the lord is one", a core concept in judaism. Aleinu: it is a prayer recited every day which details our duty. The central line/concept is the phrase "V'Anachnu Korim, U'mishtachavim, u'modim. Lifnei melech, malchei hamlachim, ha kadosh baruch hu.", or "and we bend our knees, bow, and acknowledge our thanks to the king of all kings, the holy one, blessed be he". So the way it will be organized within the piece: The piece will begin with a cello solo with a bass pedal tone, the introduction from Kol Nidre, followed by a bunch of original material inspired by traditional semitic melodies. the "flavor" of the piece will change dramatically as it approaches its apex, changing into a fanfare-ish style, where it will play out first as a low brass interlude the melody of the Sh'ma, transitioning into a full-band fanfare of "V'Anachnu Korim". It will then descend back into a flowing minor feel, followed by a decrescendo to the end, with a pedal in the 1st trumpet and polychords in the middle and low voices. A caesura, then another phrase from Kol Nidre, solo Cello, followed by a final minor chord, pianissimo. Let me know what you think of the ideas. --- Aaron Coff

Okay, Here is movement II, which I recently worked on, as of Monday, May 30th. What is to come: For All 4 movements, I am adding a 3rd clarinet part, a second flute part, a second trombone part, and a 3rd horn part. Changes to Movement I: it will be more fully orchestrated, and the winter storm/blizzard section will be rewritten. Changes to Movement II: I will be further orchestrating, and working on the summer section. I probably will rewrite the pantonal section. Within the next couple weeks, I will begin posting parts of Movements III and IV, including the program notes for them as well. Wingra Suite, Movement II.mp3 Wingra Suite_Movement_II.pdf

This is a piano rendition of 2 classic hebrew songs: Mikolot Mayim Rabim, and Avinu Malkeinu with semitic scale improv for the transition. Enjoy! Medley: Mikolot Mayim Rabim and Avinu Malkeinu

It is VERY incomplete lol. Why else would it be in the "incomplete works section" XD

This is the most updated version as of April 10th, 2011. The transition from autumn to winter was redone, and is replaced with the section where you now will see/hear 3 section antiphony. :-D wingrasuitemvt1_april102011.mp3 Wingra Suite-Movement_1.pdf

So I am aware that publication of this would be copyright infringement, so when I found this on my computer (a project abandoned long ago) I figured I'd upload it here. I realized that my instrumentation is ATROCIOUS, and that some of the parts probably aren't even playable, with many range violations. But here it is. Shirim Shel Yisrael

Wingra Suite is a work in progress; the finished work will be a 3 movement symphony for winds and percussion. It is written as an abbreviated instrumental Suite de Danse meant to portray the four seasons around Lake Wingra, in Madison, Wisconsin. The concept of the piece is to look from the eyes of a deaf "dreamer" who perceives all they see as a sound. I am starting this topic because I'd like to take you all with me on my journey to write my first symphony! Wingra Suite-Movement_1.pdf

Thanks for the input, Peter_W! I will DEFINITELY work on that stuff! I always appreciate criticism// that said, I DO drive a gray car// but the piece is based on tapping/operating various mechanisms within the car to the beat of the turn signal.

I'm sure there's a possibility somewhere. I'm in college, after all.

Agreed With Ferk. The piece as is feels to be lacking a lead line. it's a bit repetitive, and although jazz does tend to be, often, don't make it SO repetitive that it becomes monotonous, no pun intended. Is there a score somewhere?

If you are NOT Liz Jensen or Michael Lewis, take a guess on how i came up with this XD. It is shorter than my other cadences, but it is also designed differently. Enjoy!Gray Car Door Gray Car Door

Key of E, Pentatonic. the ambient track was created by playing a piano line, then recording and rerecording it acoustically, passing it through distortions and filters, between each rerecording.

I'd appreciate if any of the people on here have the ability to play and record this piece, I'd REALLY like a REAL recording. Anybody?