At Lafayette- Orinda Presbyterian Church I had the opportunity to write for a flautist almost every month for a year or so (usually because, although she had been hired, no one had planned what she would play). One month I wrote a set of variations on Balm in Gilead. You'll find a short description of the piece on my website, along with a link to the pdf of the full piece.
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In the flute and piano variations, the variation that the first excerpt came from represented a period of rest; although it wasn't long, it had a timeless quality about it, in the sense that it could keep going forever (I think the computer plays it faster than I would--I know; I programmed the tempo; the performer me thinks that the composer me pushes the tempo too much here--talk about being of two minds!). Where was I?
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When my cousin Michael went to Norway for the year, he took another of my pieces, a vocal duet, with him and started teaching it to a choir he is conducting for the year. He wanted me to make some minor adaptations to fit the choir, so I went farther than he asked (not an unusal happenstance) and not only modified that piece, but sent him several other works, including a choral version of Gilead (my third excerpt).
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What I found so satisfying is that the connections to previous work actually strengthened the compositional process. It gave me an anchor, something to build from or build toward. I confess that I've done this a couple of other times, with similarly successful results--of course, I'm measuring success to some extent personally. Ultimate success for me comes from my audience, and how much they enjoy the music...and how much my performers (I'm often one of them) enjoy their musical experience.
After all, it's not just music to my ears...