2017 Newly Published Music Awards: Asphyxia - Winner for Solo Flute Wail for flute and trombone - Winner for Flute and Other Instruments In Cahoots for flute duo & Orion's Belt for flute trio - Finalists for Flute Chamber Works Trisection - Honorable Mention for Flute Chamber Works Lilliputian - Honorable Mention for Flute and Other Instruments Dizzy - Honorable Mention for Flute Choir
A New Year's Resolution of mine every year has been to make an album of my music, and every year I find the task to daunting to do it. Come to find out, it was only daunting because I didn't have friends I love, trust, with amazing chops to help me. This is the year, we make an album.
It's finally happening! I'm recording an album of my flute music with a couple of amazing musicians, flutists Mary Matthews and Matthew Angelo. We've been long time collaborators and schemers. They've have premiered the bulk of my flute music, we've gone on roadtrips, and there's been amazing performances. It only makes sense that these be the first people I record an album with.
So here's the catch. It takes quite a bit of money to make that happen. A successful album can help a musician's career, and we're hoping this album will shake some things loose for us. We have a contract with MSR Classics label, but we need to hire a recording engineer, cover CD manufacturing costs, and promotional materials. If you could pitch in some money, we have some wonderful rewards including the CD, signed scores of Asphyxia, and even online video flute lessons! We started a Go Fund Me Campaign, and hope you will contribute so we can make this happen. And if you were looking for a belated 40th birthday gift, this would be awesome :)
I don't do many competitions. I prefer to self-publish for reasons I won't get into here, but this blog article by John Mackey says it all. However, this time I made an exception to both.
I don't like to do competitions unless: A. It costs me nothing (or minimal), B. I can get a good performance by another group in the likely event I will lose, C. If I feel its something that would sell, and D. If it feels a void in my catalog. This competition let me do all sorts of things I couldn't do on my own.
Securing rights to anything is tricky and seems like a daunting task that I would not enjoy at any point in the process. Sheet Music Press does make it easy for me to look through their catalog of titles and find something that appeals to me and decide to do it. In this instance, I thought how crazy fun it would be to make an arrangement of Metallica's "Enter Sandman" using extended techniques then get my flute quartet to perform it (none of them have or had listen to heavy metal).
A photo posted by Nicole Chamberlain (@nikkinotes) on
I live in Atlanta, Georgia. So it may come to a surprise to many that I had never been to the Florida Flute Convention, even though many of my students had thanks to being members of Kelly Via's fabulous Metro Atlanta Youth Flute Choir. Many students and colleagues have urged me to go and sell my compositions down at the Exhibit Hall at the Florida Flute Convention. I've always had one conflict or another, but this year I took the plunge and made my way down to Florida.
I was incredible lucky to by joined by a dear friend who made a living in the past in sales. She's a flutist who has performed quite a bit of my music and was familiar with the extended techniques. Let's just say I learned a ton about sales and how fortunate I am to be surrounded by friends who believe in what I am trying to accomplish. She would be mortified if I mentioned her name. But I hope she knows how thankful she came and what it meant to me.
Along with selling my compositions, part of the reason I traveled down to Orlando was because a couple of my pieces were being performed. Laura Clapper from the Flute New Music Consortium performed my work Asphyxiafor solo flute. To my surprise, I got a lovely email a few days before the convention from Paige Long that Dayton State College and Community flute choir would be performing my work Railroadedfor flute choir. Having a piece or two performed at these conventions helps people take your work more seriously. More than a few times people would walk up to my table and casually browse, but once I told them a couple of pieces were being performed, I got their attention. Its rare that I get recognized at these things, so winning people over when they don't know you from Adam is probably the largest obstacle. I enjoyed meeting all the new people and why they were at the convention.
The Florida Flute Convention was encouraging. We made more sales than I thought we would, and people seemed to enjoy my pieces that were performed at the convention. I also met many people who are interested in what I have written, and perhaps interested in commissioning more. Seeds were planted, and let's hope I'm better at cultivating paid commissions than I am a actual vegetable gardening. It has motivated me to try a few other regional fairs. I will be attending the Atlanta Flute Fair in a couple weeks, and have added the Mid-South Flute Fair as well. Now I just have to pray my poor printer can hold up. That's another blog post.
Last year, my real New Year's Resolution came quite clear around February. It became evident that I
had agreed to take on too much, and my own health and sanity were the victims. During February, I was conducting a musical, composing a commission, getting ready for the Atlanta Flute Fair, finishing an Atlanta Flute Club newsletter, updating their websites, and performing several concerts when I wasn't conducting the orchestra. Let's not forget I still had a full load of private students, and my school sectional obligations. I wasn't sleeping well, and pretty anxiety ridden. It wasn't healthy, and I needed to make some changes.
I took hard look at a long list of my obligations for the concert season, and decided I needed to make some tough decisions in order to keep this from ever happening again - which was going to require me to disappoint some people. I'm always flattered that people want me to be a part of their projects, but I can't do everything. So I had to decide how I was going to untangle myself from which projects, and how I would determine which projects to turn down in the future.
It turns out I was doing a ton of stuff for other people to help their organization or careers, with not much to boost my own or even getting paid for it. I decided that if I wasn't getting paid then I needed to decide if a certain project was helping my composing career. If neither were true, then I had to decide if I was going to enjoy the project. I found that made my decisions incredibly easy.
After CHAMBERlain MUSIC concert
It turns out saying no isn't hard, once you start saying it. Actually, it got pretty addictive. By May I had managed to give clear intentions about the responsibilities and obligations I would no longer be able to continue. It was plenty of time for the other groups to find my replacements. In fact, it was easier to find people to take up the torch than I initially thought it would be. Of course people were disappointed, but because I gave references for other people and plenty of notice I managed not to burn any bridges. The key was that I was clear, adamant, kind, and prompt when addressing concerns about me leaving organizations. Most people are put out when notice or help to find a replacement isn't offered. I gave help, and a deadline when I could no longer help.
By summer, I found myself composing more, and when I did perform it was music I enjoyed. I no longer do any web or print design, which makes me immensely happy. So here we are about the same time as last year, and I am looking ahead to February. With all of the other time consuming obligations from last year obliterated, I now have a schedule that looks more like I care about my composition goals.
2017 is starting to show the fruits of some hard labor since I quit the old day job in 2009. The tough decisions I made in 2016 really did kick start some other things and help me focus on my ultimate composing goals. Now its time to buckle up and start the daily hustle, and remembering sometimes saying no is the best for everyone.
I didn't plan to go to the National Flute Association's Flute Convention in San Diego this year. Going to the convention is an expensive endeavor especially when it involves flying to the other coast. Unless I had something major being performed I was going to sit this one out. So when my friends started conspiring to perform and commission new pieces with the hopes they would be selected to perform at NFA, I had my doubts any of it would be selected - especially the proposal that involved playing 30 minutes of my works on one program. I had made up my mind that we couldn't swing going to NFA this year, and that if would be crazy to think any of those proposals would be selected. So when 5 of the 7 proposals were selected, I was in total disbelief.
from last year's NFA
This year's NFA really is going to be an extraordinary experience for me. First of all, I've never been to California - yay, travel! Secondly, I have 6 pieces being performed. SIX!!!! I always feel lucky to just get one piece performed during the 5 day convention. This means every day at the NFA convention I am having a piece performed. Thirdly, in spite of my printer's attempts to die, I've managed to convince Flute World to sell my music at their humongous booth at the Exhibit Hall at NFA. Lastly, I get to take an epic road trip with two of my friends and conspirators from Boulder, CO to San Diego, CA which includes stopping at the Grand Canyon for a couple nights. The best part about going to NFA is a chance to see and meet all the wonderful people who have performed my pieces and friends I rarely get to see. I also hope to meet people who I've made connections with online who have performed my music. It's a rare opportunity and I had to figure out a way to get to NFA.
So how do you get to NFA on a budget. I have been putting some money away from my sheet music sales since Christmas on. With that, I was able to pay all my NFA fees and plane tickets. The hotel is expensive, especially in San Diego. Luckily, nothing like friends to help defray the costs on the hotel. My 3 other cohorts and I are splitting a hotel for 4 of those days. I have to stay over by myself one night. Believe it or not, the cost of my hotel with my 3 friends was cheaper than my one night alone. The only thing I have left to pay is food. Food, in my opinion, is the easiest way to save money. If the hotel doesn't serve a free breakfast, I can run to the grocery store and get some Luna Bars for the week. Lunch is usually catch if you can - if I remember to eat. Dinner - well dinner is always worth a good sit down meal with some adult beverages. For someone who didn't plan to go to NFA, I was able to do it. Now next year, I'll have to play be ear again. The lesson is "Always Be Saving".
Last year's NFA with my sister and FNMC
What do I hope for this year's NFA? I hope that I reinforce previous relationships with performers, learn some new tricks for my student's sake, and make new connections for more commissions. I've reached a lull in commissions. It happens. I may have exhausted my current connections and its time to make new ones. While I hope to have a good time with my friends and get a chance to see a bit of San Diego, I will have to put on the used car salesman hat my grandfather left me and go shake some hands.I'm just lucky that I enjoy my job so much that it doesn't always seem like work. Let's face it, its a Sunday afternoon - I should be relaxing, but I love what I do and it doesn't seem like work.
I've made it no secret that the summer is a struggle for us freelance musicians financially. A good bit of my students take the summer off for travel or camps. So I am teaching less. It is also slim pickins for paid performances, with the exception of some "Stars & Stripes" gigs for us flute/piccolo players . The result is I typically have more time to compose. While I have been doing that, sometimes I like to revisit doing arrangements especially for flute duo.
My Christmas Flute Duets have by far been the best seller of anything I have available for sale on my website. Unfortunately, those typical only sell during October through early January then sales drop off. I managed to prolong some sales by adding Easter and Lent Flute Duets as well as Wedding Flute Duets. Although those have been received well too, I have had many requests over the years to do a collection of traditional hymns. Music for church services is performed quite a bit, and people who perform that music on a weekly basis are always hungry for new music.
The result is I finally had some time this summer to get to a project I have always wanted to complete. It solves many problems for me. It makes me brush up on my basic composition skills, create some much needed income, and gives me some new music to perform with students and friends at my own church. Right now, I have 5 Traditional Hymns for flute duet: "Amazing Grace", "Be Thou My Vision", "How Great Thou Art", "Holy God, We Praise Thy Name", and "O Sanctisimma". So far, people seem to really enjoy them. Perhaps in the future I will be able to expand on the collection. They are always fun to arrange and perform. I'm always so please to hear how other flutists are so glad to find some new hymns to perform at their own church.
Lately, I've had lots to compose. I've had back to back commissions (hooray!). In fact, I still have one left on the table that is due in July that I should get to hacking away at before I get stressed about it. But, I bought this music box back in December and haven't had time or inspiration to compose for it. I decided to take a break from composing my "to do" list, and compose for my "want" list. So I composed a little piece for piccolo and music box. You can watch a video below:
It was as fun as I hoped, and I hope I get to do more. Since this music box would be new to a good bit of folks, I also put together a music box tutorial to explain the process:
I did this project as a fun exercise to get me to think differently. My last year of compositions have been all for flute in one aspect or another and I needed a different challenge. But now, it looks like its turned into somewhat of a fundraiser for my dog who will have EXPENSIVE knee surgery tomorrow so she can walk on all four legs again. You can read about the surgery from our pal Jarrett Bellini who went through the same thing last summer and made me feel good about our decision to do this surgery. It will be worth every penny to see Annie run and terrorize squirrels again...also its painful to watch her try to squat to take care of business. Turns out a dog's back leg is pretty crucial to day to day function.
So help us out and buy the sheet music to Lilliputian or you can browse some more of our music at spottedrocket.com, in case you are not a flutist or piccoloist. Or if you don't see anything you like, you could always commission me. I've got nothing lined up after this one I am working (about to work) on. Thanks for your continued support!
The day after my last blog post, the hubs had a brain aneurysm. He came out the end as good as new, and I couldn't be more relieved! It certainly brought our relationship to a whole new level. It was great before, but now there is certainly more gratitude about the time we have together.
A question I get asked frequently is "Were you scared?". There wasn't time to be. Everything happened so fast. We were taking it as we were dealt with it, and having to make decisions quickly. I got to have my meltdown when they rolled the hubs into surgery, but it was a healthy meltdown. The next question I get asked "Wasn't anyone with you?". No, no one physically was there. I think that was best. I think I would have felt obligated to keep it together if someone was there. Because when I break down, it is ugly and worrisome. When they wheeled Brian back in, he was chatty and "drunk". Then I wasn't worried anymore. The whole experience was amazing. He was in agony, and then two hours later he felt great. He just kept getting better. I almost felt guilty his parents drove/flew down from Pennsylvania in record breaking time to be there when he got back - I know they were glad to be there and see for themselves he was fine.
Looking back at the whole thing, I probably should have been more terrified. I don't think at the time I had all the information about what usually happens when people get brain aneurysms. People love to tell you stories about how they know someone who was 26 years old with a wife and four babies who died from a brain aneurysm. There's nothing more comforting than hearing that (sarcasm). Rest assured, we witnessed first hand in the Neuro ICU what the usual outcome is for brain aneurysm. Poor Brian got severe survivor's guilt every time he had to go for a walk down the ICU unit. Every other patient was not usually even conscious. When Brian walked down the ICU unit it was like a parade. All the nurses would get so excited to see a walking patient. I sometimes think the walk was better for the moral of the staff on that ICU unit.
Once Brian was on the mend, my focus changed fast. Nothing like the possibility of health and financial disaster to really get one motivated. Our two weeks in the hospital really kicked things into overdrive. Usually, I don't take on more than one commission at a time with the same deadline. Motivated by the need to pay hospital bills and the weeks the hubs was going to be out of work while he got back to 100%, I signed two commission contracts with the same deadline and a third soon after. I'm thankful that worked out, and that people have faith in my compositions, it gave us more latitude financially. However, I had to ramp up my work. If it paid, I didn't turn it down.
What should have been a month of hanging out with the hubs while he healed, turned into the craziest month of taking care of Brian, juggling work, family, dogs, and sleep. I do have to say I never slept better during that month. If I laid down on the bed I was out. I am grateful to friends and family who helped take care of us during that time - some of them I missed because I fell asleep during the visit. Friends did everything from showing up with magazines to help with the boredom (not mine!), buying me dinner - because you forget to eat, to getting my paycheck to me so we wouldn't miss a mortgage payment, and even a friend who stayed the weekend last minute while Brian was in the ER and transferred to Emory. All those little things really made a huge difference. So next time this happens to a friend, even just showing up at the hospital to say hi or giving them a couple bucks to hit up the vending machine can really help out. It doesn't take much in a time like that. I know I never know what to do when friends are in that situation - it doesn't have to be a big gesture to make a huge impact.
So Brian is back to "normal" and so am I by the time October rolled around. It's been a flurry of flute playing, teaching, and composing. So much happened, I'll have to space out the posts. The next 4 months look equally packed. Then May will hit, and I will long for these days that are too busy to blog about any of the events. For now, this post explaining my absence will have to do. I'm pretty sure the "My Husband Had An Aneurysm" excuse has been played out by now. Don't worry, we joke about it, but we know things could be a lot different and that is not lost on us. I'm thankful we get more time together.
This summer has certainly been uncharacteristic for this freelance musician. Typically, I'm working on one commission and more than likely trying to make Christmas arrangements (my biggest seller) to make up for the lack of income from vacationing students and the drought of gigs. This summer, however, I have found some flute love.
At the beginning of the year I always make a list of pieces I would like to compose in case I find myself without a project to work on during the year. Most of the time the pieces I plan to work on vary in instrumentation and form to help me keep things different and fresh. This year has been the year of the flute, however, and it doesn't look like I am going to write a piece where the flute isn't the featured instrument.
I suppose it makes sense that my main instrument is the same instrument of my commissioners. It certainly is the instrument I am most comfortable composing for, obviously. I usually meet other flutists at flute fairs and the National Flute Association Convention who have heard a piece of mine there and would like me to compose a certain piece for them.
I just had a piece for flute choir premiered at the 2015 National Flute Association Convention in Washington, DC. this month. I was commissioned by Flute Choir of Atlanta, under the direction of dear friend Kathy Farmer, to compose a piece for flute choir with the hopes to perform it at the National Flute Convention. The program was called "American Seasons" and that I could pick whichever season I would like. I had been experimenting with cricket and insect sounds using the flute with other pieces, but this time I could experiment with the sounds on a bigger scale in a flute choir. So I picked summer, the height of bug season.
I had found memories as a child spending the night at my great aunt and uncle's farm in Dearborn, Missouri.The days were warm and the nights were cool. The windows were always open at night. I remember on particular night staying at the farm for the first time without my parents or sisters. Falling asleep listening to the crickets, but then a my imagination ran away with with me. Needless to say it resulted in me waking up my great aunt and uncle and having them drive me an hour back to St. Joseph, Missouri where my parents and sisters were staying with my grandmother. So this is for my poor great aunt and uncle who gave me wonderful memories and never complained about driving me back to my parents in the dead of night on that long gravel road.
That night was the inspiration for the piece Summer Insomnia. Some of the extended techniques were new for many of the members of the flute choir, but what troopers they were about learning! I not only had the privilege of composing for the choir, but I got to play with them as well. It was a wonderful experience and and experience I'll never forget. They even made me a special bug crown!
So the question now, as always, what's next? I just finished another flute choir commission for the Atlanta Flute Club. It's a piece for the 10th Annual Flute Choir Extravaganza event on November 15. So far there are 5 flute choirs signed up to join the premiere performance, with a possibility of a couple more. That will be an amazing experience to stand in front of all those flute choirs and conduct a premiere of my own piece.
I will premiere another work of mine for flute and piano, Three-Nine Line, with pianist Ipek Brooks on October 3. Now, I am just about to start putting the first notes on the page for a flute and trombone duet commissioned by Dr. Shelley Martinson. I also have a couple of commissions out to be signed and negotiated...yes they are for flute. Of course I have my usual load of students, Terminus Ensemble performances, and Perimeter Flutes has a plethora of performances coming up as well. Needless to say, I am going to take advantage of the holiday weekend to get the house in order so that our house isn't condemned by Christmas....
Flute New Music Consortium also interviewed me. Watch me try to speak English, shockingly my first and only language, but I'm not sure you can tell:
Every year I summer comes around and basically I white knuckle it until October when work picks back up (ie students and gigs). This summer is no different in the student and paid gig arena, but in the composition department is has been a record breaking season for me - well as far as summer is concerned. This summer has been filled with commissions, performances of my works, and a competition win!
My summer kicked off in the win column when it was announced in June that I won The Flute View's Composition Competition. Winning a competition is rare, especially for me. Winning meant a little money to help us get through June (record breaking low since I started teaching - thanks students for getting awesome and going away to music camps). It also meant a lot of publicity as well as a premiere of the my winning composition Percolate for flute trio. I haven't heard the premiere yet, but I'm sure it was amazing since it was performed by Viviana Guzman, Andrea Fisher (Fluterscooter), and Alice K. Dade. Did I mention that there was all sorts of publicity tied to this? There was a Youtube interview and a podcast interview with The Flute View.
August is shaping up to be a good month as well thanks to the National Flute Association Convention. The Flute Choir of Atlanta directed by Kathy Farmer will premiere Summer Insomnia for flute choir that they had commissioned specifically for this performance. (Purchase availability coming soon!) I will join forces with my sister who is a physical therapist to give a workshop about pain prevention called "When Tooting Your Flute is a Pain in Your Neck". So I think this summer certainly makes up for last summer.
There's been bumps in the road - AC breaking in the car and the house, a flat tire, health junk. But we got through it. The hubs even quit smoking! How awesome is that!?!
Well it's that time of the year where students go off to their various vacations and summer camps, gigs dry up, and I'm left with free time - and this time a commission! Although, its not a large commission, its something, and it could lead to other things. At the very least it will get some money coming in to make up for a few missed students. Like last year, summer there are fun things to do. Unlike last year, we are hoping to dodge any and all depressing life set back (all pets and cars are required to stay healthy this summer).
So what am I doing this summer? Let's start with my favorite part...I have a commission! This past year has been all about composing for flute, and this summer will be no different. The Atlanta Flute Club has commissioned me to compose a fanfare for the 10th annual Flute Choir Extravaganza that will happen November 15. I love commissions where I know who I am writing for and there is a definite premiere date in place. Nothing worse than never hearing a piece performed that I had written. When I am done with my current self appointed project, I might dive into that next. Personally, I might try to write something short without flute just so I can make sure I am varying my writing a bit. Still, I can't wait to hear a GYMNASIUM full of flutists perform my fanfare.
I'm also doing a bit of playing. On Sunday (5/31), I will perform with Terminus Ensemble. I FINALLY get to play Dr. Charles Knox's A River Runs Through It for flute and piano. It's a beautiful piece and I am glad I get to play it with Dr. Ipek Brooks. I will also be performing Olivia Keiffer's Two Horn Unicorn for flute and viola with Mike Brooks, and Glasz by David Garner. Looking forward to playing more with this ensemble.
On June 27, I'll be attending Flutapalooza. I'll be there performing with Perimeter Flutes, presenting "Beatboxing to a Better Bach", and selling my wares at the Spotted Rocket Publishing booth. It will be a very busy day!
And that's about it until the National Flute Convention in Washington, DC in August. My sister and I will present "When Tooting Your Flute is a Pain in Your Neck" and the Flute Choir of Atlanta will premiere my new work Summer Insomnia for flute choir. Have I mentioned I've been writing a lot of flute music lately? Here's one example of what I've written, and it just got its premiere in March. Then some of my favorite flute people decided to also perform the first movement and send me a video so I could finally hear it! You can also buy the sheet music for Orion's Belt!
That's it. That's what's on the agenda for the summer. So I hope everyone decides to buy my music this summer to help keep things going :) I could also use a few more commissions. I hear I'm pretty reasonable!
The Atlanta Flute Club asked me if I would be one of the conductors for the Atlanta Flute Club's Honors Flute Choir this year for the Atlanta Flute Fair and that I could choose the music performed. How could I pass up the opportunity to compose something new for flute choir?
When I write for flute I like to take advantage of all the different extended techniques that the flute has to offer, however, I knew this group of flutists were young and almost had no exposure to any extended techniques. When looking at the repertoire available, I see that most pieces that use extended techniques are for more advanced players. I wanted to compose a piece that might introduce one or two new techniques, especially since I'd have a whopping total of 4 1/2 hours to prepare the choir, and we were learning several pieces. So I kept it simple. I used 3 syllables of beatboxing (ch, ki, ts) and a pitch bend.
The end result was "Railroaded" for flute choir. The piece is about 3 minutes long, and the group had a good time learning it even if it was all new. I feel the piece works great for any group at any level looking to try out some extended techniques. You can give a listen to a recording, watch a video on how to perform the techniques and purchase the sheet music as a PDF here: http://www.spottedrocket.com/Railroaded.html
If only the whole year could be as busy as it has been up until this point. Right now it seems like it might stay this way until the end of June (and I couldn't be happier)! So far I've conducted 6 Footloose musicals, performed with Clibber Jones Ensemble, had a few pieces performed/premiered, and secured a commission. If only this keeps up and I don't have a repeat of last summer.
So what's up next? Next week is crazy, yet amazing. On Tuesday, I travel with Terminus Ensemble to give a masterclass and perform at the University of Tennessee. On Thursday, I give a masterclass and perform with Perimeter Flutes at Georgia State University (we are performing my "French Quarter" at the masterclass and "Coalescence" at the concert). On Friday, my sister rolls into town so we can prepare for our presentation "When Tooting Your Flute Is A Pain in Your Neck" at the Atlanta Flute Fair on Saturday...did I mention I am also conduction the Honors Flute Choir at the Flute Fair where my piece "Railroaded" will be premiered and running a booth with my husband for Spotted Rocket Publishing? Yeah...crazy week, but all good things.
So I really haven't had a lot of time to think about what I want to accomplish. I suppose I should leave that
Me, pianist Kaju Lee, and tuba player Bill Pritchard
to the slower summer times to make any plans. I do know what I want to compose, but plans change depending on who I meet and interact with. So far a must do is a flute choir piece commissioned by the Flute Choir of Atlanta directed by Kathy Farmer. They will premiere the piece at the National Flute Convention in Washington, DC. I've been in flute composing mode for a while, and it would be great to branch out and compose some band pieces. There seems to be a need there.
In the meantime, I've got lost of upcoming concerts and compositions being performed by old and new friends. Last week, tuba player Bill Pritchard and pianist Dr. Kaju Lee gave the first public premiere of "Surus". The best premieres are those given by good old talented friends. But, looking forward to hearing about upcoming performances by people who I just met, and know they are just as talented like Areon Flutes. Who knows? Maybe I'll finally make it out to California, however, my bank account still likes to say otherwise. Regardless, I am certainly looking forward to this year. Its been pretty exciting so far.
This summer was not a total wreck, but it certainly was hairy. I am THANKFUL that things have finally turned a corner. Students are back in full force, I've been hired to play, hired to lecture, hired to compose, and getting some positive feedback from all those competitions where I submitted my scores. I'm embracing the colder months because they bring work and I can heat the home!
There have been some pretty amazing highlights, and not everything I can share just yet. Probably the top of the list is being awarded 2nd place for my composition "French Quarter" by the Flute New Music Consortium. Awards are always encouraging, especially after a barrage of rejection letters. I love my flute community. We are, for the most part, a friendly and happy bunch of people who enjoy adding to the repertoire. I'm grateful that my flute buddies get a kick out of my flute pieces, and I'm looking forward to reuniting with my flute friends at NFA and beyond.
Teresa Feliciano, Caleb Herron, Olivia Kieffer, & me
This past weekend, I had the pleasure of being both performer and composer at the NACUSA National Conference at Georgia State University. I performed my piece "Fisticuffs" with my fellow Chamber Cartel/Terminus friends at the opening concert. I had the best time giving the second performance with the original premiere performers. The bad thing about being busy musicians is that we can't always get together. The good thing is that when we all get together it's like we saw each other yesterday. We don't skip a beat with the shenanigans or how to perform together. Atlanta is packed full of fun loving, friendly, and talented musicians. Right now, I can't imagine living anywhere else.
Performed Dan Morel's "Wanderings"
This past weekend really is what I love doing. I love playing new music and pushing the envelope of my playing abilities through extended techniques. I got to see old friends, make stronger friendships, and meet new people. Nothing better than being paid to do the kind of work you love with people who are fabulous to work with! I hope that kind of work keeps coming.
So what's next? A question I'm always asking myself. Well, I got a commission. I can't really share the details just yet. The contract is theoretically signed, I just need to receive it. As usual, it involves musician friends who have fun playing what I write, and I look forward to the adventures we might go on with this new piece yet to be written. In the meantime, I better buckle down with all the Christmas music and start practicing "Nutcracker" so I don't embarrass myself.
This week has been chock full of tough decisions combined with the flu. My teaching and performance schedule has amped up considerably this past month (totally grateful), but that doesn't mean everything has been going smoothly professionally or personally. I was met with one of those decisions which equated to the disappointment of facing reality. I'll leave out all the personal heart to hearts I've had with family and friends as they met their own tough personal strife. Let's talk about a professional one which was especially hard to make for everyone involved.
Through a series of events that played out I was faced with a decision on whether or not to pull my piece from a concert for Friday. No composer wants to do that. Performance opportunities can be few and far between. This was going to be one of those elusive second performances that composers have a hard time securing. It became obvious after our last and only rehearsal, however, that it was going to be a scary performance, and it could be potentially embarrassing for everyone involved: the performers, the artistic directors, and myself.
Luckily, I find myself surrounded by honest friends-colleagues whose opinions I value, but as always, it was the hubs who brought the most light to the situation. What is really great about being married to someone in your profession is that your access to experience doubles. I related what happened at rehearsal, and wouldn't you know it he had to make the exact same decision for a concert before we had ever met. At his dress rehearsal, it became obvious to him that the piece being performed wasn't ready. He felt it wasn't a complete representation of the music he had written, and he pulled it. If its not ready, its just not ready and why present a misrepresentation that could be harmful to everyone involved.
For whatever reason, the though of pulling the piece never crossed my mind as an option. I get in the mindset (as a performer) that the show must go on. But I forget that it doesn't always have to go on right that moment. So as grateful as I am for everyone wanting to take a stab at it, more work needed to be done that couldn't happen by the time of the concert. I'm especially grateful that everyone was relieved, however sad, that we cut the piece. In fact, I felt better as a musician that I could focus on the other pieces we're performing. Sometimes you need to strive for quality and not quantity. I'm glad the artistic directors feel the same way.
Wilderness Act Performance Series Premieres on Sunday at 3pm!
On Sunday, September 28 at 3pm two of my compositions will be premiered at the Outdoor Activity Center, 1442 Richland Road, Atlanta, GA 30310, by Chamber Cartel as part of the Wilderness Act Performance Series to celebrate the 50th anniversary of the Wilderness Act. I attended 3 days in the field at preserves associated with the Western Atlanta Watershed Association: Beecher Hampton Nature Preserve, Bush Mountain Outdoor Activity Center and Cascade Springs. Based on my experience visiting these beautiful nature parks on the heart of Atlanta's West End I created "Watersheds" for flute, alto saxophone, baritone saxophone, piano, and percussion and "Mimic" for two piccolos. I will be there for the premieres conducting (Mixed meter, yikes!) "Watersheds" and performing with flutist Jessica Sherer on "Mimic". Stick around after the premieres to hear Thomas Avery's composition as well as works by artists Kris Pilcher, Mollie Taylor and poet Rev. Marti Keller. 85th Birthday Celebration of Composer Charles Knox at GSU
I will be performing two pieces by Composer Charles Knox as part of his birthday celebration on September 30 at 8pm at Georgia State University's Kopleff Center. I will perform "Music from the Outer Edge" with Perimeter Flutes and "Familiar Objects Seen in a New Light" with clarinetist/composer Dr. Nick Demos, violinist Dr.Christos Galileas, pianist Raffi Besalyan, and cellist Yannis Tsitselikis. Do you ever google people you are suppose to work with and feel a bit out of your league? Yeah, I'm having that moment right now. Time to practice!
So maybe I got ahead of myself posting about the Christmas Flute Duets the other day. Never fear! I managed to find some time and crank out a flute duet for Halloween. The best familiar tune I could think of (that was in public domain) was Funeral March of a Marionette by Charles Gounod. Like many people, I was really only familiar with the theme played in the Hitchcock TV series. So when I dug around and found the original piano piece, I was surprised to find so much more to the work. That's why I love doing these simple arrangements. It makes me do score study. It flexes my composition skills in a different way. I have to to pay attention and figure out what is most important. How does this piece work? How will it translate? Hopefully, things rub off when I write my original pieces. For right now, enjoy this arrangement and hopefully some time soon I'll record it and eradicate that awful MIDI rendering:
Oh yes, its about that time of year where I start touting all the Christmas Music I've arranged for flute duet. I know its only September, but they time you factor in search engines finding this article and the prep time musicians need to get their Christmas Music practiced and in a Christmas program for the season it makes me start peddling them in September. Actually, I work on them all year - even when I'm not in the mood. I'll put on QVC's Christmas in July programs and I get the courage to start putting a few more arrangements out.
I originally made my first few flute duet arrangements out of frustration. I had some really talented students who wanted to sight read Christmas music in their lessons, but the majority of the duets out there are ridiculously easy. Not a challenge at all. So I tried to make some challenging ones which included changing meters from simple to complex, and also playing in the higher register. I posted my first one "Silent Night" on a flute forum, and I took my dogs on a walk. When I got back, I had a half dozen orders waiting on me. So I did a few more. I have arrangements of "God Rest Ye Merry Gentlemen", "Jingle Bells", "Silent Night", "Coventry Carol", "What Child Is This?", "O Come, O Come Emmanuel", "We Three Kings of Orient Are", and "Pat-a-Pan"
Not only did the arrangements help my students get some extra practice while having fun, but we were able to have extra money for our Christmas that year - not to mention how it helped build my skills as a composer. So every so often, I'll arrange a few more. I even did some Easter Flute Duets as well as Wedding Flute Duets. All this duet arranging got me thinking - I should write an original flute duet using extended techniques that I love, like beatboxing. Chatter for flute duet was born.
I'm grateful that teaching my students led to arranging which led to writing an original composition I'm proud of. Who would have thought? Now go buy my Christmas Music for Flute Duet :) Did I mention they work for violin as well?
Let's just say this summer has been less than stellar for the Chamberlains. We've had a lot of emotional and financial kicks in the gut (our beloved kitty dying, car accident, lack of commissions, and student drop off for the summer), but there's been some really wonderful moments too (5 year anniversary, trip to see the in-laws in beautiful Pennsylvania weather, visits to local parks, lots of composing, etc). Luckily, its been nothing we can't handle, and in 30 years we'll laugh about all the nuttiness this summer has offered us. The one thing we have learned is that we must keep on keepin' on. We doing everything right, its just every once in a while we're going to hit some obstacles and we've got to get around them.
There does seem to be some light at the end of the tunnel. I'm just starting to get a trickle of student returning from the summer, and even a couple of new students. I'm starting to get notifications about compositions of mine being performed by others, and I am looking forward to deciding what I would like to compose for in the future. The good thing about not having any commissions lined up is that I can choose what I would like to do, but keeping in mind to compose for friends. Nothing makes me more frustrated than composing a piece that sits on a shelf never to be performed.
As I wrap up this composition for the Wilderness Act Performance Series, what's next? I use to have a hard Nick Demos' blog posts have confirmed what I have always feared is true. You have to keep thinking ahead. I can't be all Scarlet O'hara and worry about it tomorrow or I'll find myself with nothing to work on next.
Checking out Bush Mountain for WAPs
time thinking about another composition beyond the one I am working on, but the past year and
I know (hopefully) starting in September my schedule will ramp up in the teaching and performing department which will lead little time for composing. At least not the hours I got to spend this summer. I'll be lucky to get two hours a day. Projects I would like to work on, because I've had requests, are a flute choir piece and another band piece. So hopefully, by the end of the year I'll have a couple new compositions ready for premieres.
In the meantime, while income is not what we would like it to be, its doable. I'm thankful that the only sacrifices we have to make is that we can't travel or buy the extras. We just keep paying the bills and think of creative free ways to spend our time together (thank you, Ingress, state parks, and the library). If we keep on keepin' on the work will pay off and things will get rolling again. Hey, its the summer. It's all a part of being a freelance musician.
