2015 in Review

As the year closes out (there’s all of six hours left as I start writing this), I thought I’d go through some highlights from the year.

  1. I did a massive overhaul of the site starting in September.  The site is now much easier to navigate and find information that was previously buried in long posts.
  2. The highest traffic month was November with just shy of 12,000 views.
  3. Total year views is just over 71,400.
  4. The most searched term that hit the site was “contrabass trombone range.”
  5. The most read post, by far, was my interview with Richard Bobo on his Subcontrabassoon project.
  6. The number 2 post was “Why I Dislike Adler’s Orchestration” (nothing like a little vitriol to get things riled up) followed by “Basset Horn vs. Alto Clarinet.”

Plans for 2016

The instrumentation sections are all but done.  There are a few areas that need touching up and a few that need to be added.  The big goal will now be to add a whole area on actually orchestrating for various bands and wind groups.  I’m currently debating whether or not to put this on the site or have this in a published book.

Symphony (1) for Double Reeds

Over the years, I’ve started 7 symphonies, but, to date, this is the only symphony I’ve completed.  In some regards, it’s the least symphonic of all the symphonies I’ve attempted, as it is a single long movement and scored entirely for an ensemble of double reeds.

I wrote the piece fairly quickly in perhaps six weeks’ time.  The impetus was visiting the International Double Reed Society’s annual convention in 2006.  I was surrounded by double reed players of all calibers.  A year earlier, at the convention, I heard a live performance of Grainger’s rarely performed Hill Song 1 for a large double reed ensemble (and a few Piccolos for good measure) and was stuck by the sororities that came from the ensemble.

While at the conference, I had the opportunity to play and hear many of the more obscure members of the oboe and bassoon families and decided to include them all in a single work.

The work has multiple sections that function like separate movements but all flow together.  Each section has a different character: pastoral, romantic, dance-like, agitated, etc.

Instrumentation

  • F Piccolo Oboe
  • 4 Oboes
  • Oboe d’Amore
  • 2 English Horns
  • Bass Oboe
  • Alto Bassoon
  • Tenor Bassoon
  • 4 Bassoons
  • 2 Contrabassoon

(Performing edition)

(General MIDI edition with score)