WRITING

Composition is very subjective regardless of the idiom and as a composer, inspiration and influence can come from many places. I am very fortunate that inspiration for compositions come to me very naturally and the reason is that I have a very conceptual approach with my music, as it is a reflection of myself. The inspiration for my compositions are equally influenced by life, nature and experiences as they are music and I search for the sounds, grooves, melodies and textures that will create the stories that I am trying to convey. With this approach, I have no preconceived standards or expectations that I must meet in my music. The only expectation is to be as organic and honest as possible with myself so that the music can feel the same way. Here are explanations of the concepts behind my compositions as well as an explantation of the composition itself. I always enjoy reading about other musicians/composers process, so I wanted to write about my own compositions to give an insight on the way I write music. Thank you and I hope you enjoy.

Matt

Burnt Tavern
1. Concept
  1. For nearly six years, I lived in Philadelphia while attending the University of the Arts. My then fiance, now wife, Andrea would come out and stay with me every weekend. Once I finished grad school, I moved back to New Jersey and we moved into a complex called Burnt Tavern Manor. This was our first apartment together after being with each over for ten years. The first part of the piece is to portray the ruggedness and abrasiveness of the apartment complex, while the second part portrays how happy we were to finally be living together after so long of living apart. We no longer live there but it was a pivotal point in our lives and it was special for what it was, a place to be together and call our own.
2. Composition
  1. The section is a groove with a bar of 9/8 to 7/8 eventually going to 12/8 briefly. I use the maj7#11 sound, using the root, #11, maj 7th while going up in alterations of half and whole steps, until I ascend chromatically to the tonic. Starting on Dbmaj7#11 to Dmaj7#11 to Emaj7#11 Fmaj7#11 to Gmaj7 #11, then chromatically to Abmaj7#11, Amaj7#11, Bbmaj7#11 Bmaj7 #11, Cmaj7#11 Dbmaj7#11. The second section is in the key of A and settles into a chill 4/4 groove with a Amaj7-C#m7-Dmaj7-Bm7-E7 progression using arpeggios, octave displacement and shell voicings for the chords. Solo section is over those chords. The ending of the tune is similar to the first part but using maj7 chords starting on Emaj7 to Gmaj7 to Dmaj7 to Ebmaj7, using the root, 3rd and 7th with octave displacement.
Creatures of Adelphia
1. Concept
  1. When I lived in Philadelphia for six years studying at the University of the Arts, I lived in a building called “The Adelphia House”. The building was built in 1914 and was a former hotel that was converted into apartments. This was my first apartment and first time living away from home in a new city by myself. I fell in love with Philadelphia and it became my second home. This tune contrasts the peace and independence I felt while living in my apartment and as well as being outside of it with the strange and creepy people that occupied the building and the streets of the city.
2. Composition
  1. First section starts with a chill groove in 5/4 going from Cmaj7 to Dm7. Bass plays major tenth double stops and piano plays fifths in the left hand and color tones in the right hand. The second section starts in 4/4, half time with avante garde clusters into a C chromatic scale divided into septuplets and left hand clusters. Then quickly into 7/4 with chords chromatically descending using diminished passing chords. Solo section is in the main groove of 5/4 Cmaj to Dm.
From the Visions
1. Concept
  1. Jazz musicians practice for years on their instruments with the intention of forming a certain sound and feel that is true to the tradition of jazz. Studying history, vocabulary and listening to the great's is absolutely essential to any jazz musician's development. They were pioneers of improvisational expression and composition, pushing the limits of what jazz could or was thought to be. To me, jazz represents freedom and everything changed for me once I shifted my focus to being organic and honest with myself and my music. Finding and developing my voice as a bassist and composer is an ever evolving pursuit and this piece reflects my vision of constant forward progression and evolution in art and in life.
2. Composition
  1. In this piece I used simplicity, ostinatos and continuous momentum. First section is an ostinato of steady eighth notes of a Ebm triad with bassline using Eb Aeolian as it changes throughout the section. I use a Db triad to break up the Ebm triad ostinato. The second section is an ostinato of parallel chords with the bassline joining and separating from the ostinato. No solos in this piece.
Mark Out
1. Concept
  1. I am a huge fan of professional wrestling. It is a physical performance art form and I have a tremendous amount of respect for its history and the performers. The term “mark” was from the old days of traveling carnivals and was used to label the customers spending their money on the strange carnival games and attractions. The term was adopted by professional wrestling and “mark out” is used when a wrestling fan is genuinely excited and enthused about something that is happening during the performance, even with the knowledge of the outcome being predetermined. This piece is meant to reflect the emotions of a wrestling fan that is “marking out”.
2. Composition
  1. The first section is in 7/4 using E spanish phrygian. Bassline doubled in left hand and right hand plays E7 and F7 chords and unison lines then goes to 12/8 briefly. The next section is a groove with three bars of 7/8 and one bar of 5/8. The bassline is doubled and the right hand of the piano plays some diatonic and non diatonic chords. The solo section is open avante garde using E7b9b13 and into open drum solo over the B section ostinato. Concludes with playing the first section.
Neaissem
1. Concept
  1. One of my favorite twentieth century composers is French composer and ornithologist, Olivier Messiaen. His approach to composition was based off of his “Modes of Limited Transposition”. By using a combination of these modes, birdsong and rhythmic techniques such as non retrogradable rhythms, he created an entirely new musical language. I was always enthralled by the creation and application of his musical language and of his belief of birds being nature's most intelligent and greatest musicians.
2. Composition
  1. The whole piece is based off of Messiaen’s 3rd mode of limited transposition and birdsong. The first section is in 9/4 starting with the bassline. The right hand of the piano joins by rolling a Bm6 chord and eventually doubles the bassline. The dynamic grows, the bassline changes and I add a C7 with the Bm6. Then into a stop time ostinato bassline using the same chords over an open drum solo. A transition into bird sounds with picking open strings of the piano, rapid arco bowing and drum textures. The next section is in ¾ that goes back and forth from an ostinato bassline and birdsong melody, to hits with cluster chords in the left hand and a different birdsong melody.
Vernal Equinox
1. Concept
  1. The vernal equinox occurs when the plane of the equator passes through the center of the sun causing there to be an equal amount of daylight and darkness. The vernal equinox occurs on March 20th, four days before my birthday, and marks the beginning of the spring season. It has been celebrated in many cultures from all over the world for centuries and I always feel a strong connection to nature and the cosmos this time of year. I wanted to compose a piece that reflects this incredible happening with the first half being a varying and evolving theme of this astronomical phenomenon and the second half is a celebration of new beginnings.
2. Composition
  1. The first section starts with the bassline and steady eighth notes playing Amaj7 and E7 chords. Right hand keeps those chords going while the two themes of evolving basslines are played. Bass solo and then the third theme is played as the section concludes. The next section starts with a bassline with two bars of 4/4, a bar of 6/4, two bars of 4/4, two bars of 5/4 and a bar of 4/4. Bassline is doubled and the right hand of the piano plays the groove of A7b9 and Bbmaj7. Then goes to four bars of 5/4, three bars of ¾, three bars of 9/4 and seven bars of 4/4. The piano solo section is fast swing with the A7b9 and Bbmaj7 chords cued into the previous section. Open drum solo into the previous section to conclude.
North Beach
1. Concept
  1. Growing up and living at the Jersey shore, the beach has been a big part of my life since I was very young. This northern beach in Long Branch is where I proposed to my wife Andrea. Her grandmother's house was across the street from this beach and she grew up spending her summers there. After we started dating, we would go there often regardless of the time of year just to take walks and look for shells. This piece reflects the vibe and feeling of this beach and us enjoying our time together there.
2. Composition
  1. The first section starts with three bar bassline in 7/4 and one bar of 5/4. HIt on Em for four bars of 4/4 with avante garde clusters. The melody joins using octave displacement. The next section is in ¾ with A7#11, Bbmaj7, Dbm7, Gb7#11 and simple right hand melody. Solos section over Gmaj7, Em7, A7, Bbmaj7, Dbm7, Gb7. Head out, drum solo over ostinato and conclude.
Andrea
1. Concept
  1. I composed this piece for my wife Andrea. I could go on forever about how much I love her and how much she inspires me. This is a portrait of her and I composed this piece in four sections with each section conveying a feeling. I wrote themes about her beauty, fun and youthful spirit, romanticism and her Gemini twin. She is my muse, the love of my life and the air that keeps my fire burning. I would be nothing without her.
2. Composition
  1. The first section is Dm, 4/4 melody introduction. The second section is in 4/4, half time with doubled bassline and Dm and C7 in the right hand of the piano to a chromatic unison line with hits on Em7b5 and Eb7. Solos over Dm and Gm. The next section is in 4/4, bass doubles melody and the left hand of the piano plays the chords. Piano solo and repeat section into G#o7 to transition. The next section is a rhythmic pattern of two notes of E and F. Goes to half time feel and open drum solo. Concludes with the first melody as is played rubato.
November 12th
1. Concept
  1. This is the day Andrea and I were married at a beautiful venue overlooking the beach in Long Branch, NJ. It was a beautiful, cool sunny day and crystal clear night with a stunning super-moon. The super-moon shone bright that night reflecting off of the ocean as we stared out overlooking the water in amazement. I wanted to create an aural painting of the beautiful moonlight reflecting off of the ocean and the sounds of the waves crashing on the beach that night. This was the greatest day of my life and this piece is my musical impression of that incredible night.
2. Composition
  1. The first section is based on quintal harmony. Starts with a single C#, adding fifths B, F# below and G#, D# and A# above. Drums play textures and bass joins with a single B and then a fifth of B and F# as the section progresses and ends with a full quintal chord that was built throughout the section. The next section is an open section of textures of Ab whole tone scale into parallel augmented triads of C+, Gb+, Ab+, Bb+ and a flowing Ab whole tone scale. The next section is parallel augmented triads of G+, Db+, Eb+, F+ and a flowing Eb whole tone scale into textures using Eb whole tone scale
Sherman Ave.
1. Concept
  1. I grew up in the same house my entire life. My parents gave my sister Rachel and I the most incredible childhood a couple of kids could ever ask for and gave all of the love and support in the world to us. The memories I have growing up on Sherman Ave. are the greatest memories I have and I hold them deeply in my heart. This piece has three themes with the first representing my happy childhood, then my resistant and turbulent teenage years and lastly the love, warmth and appreciation I feel today for everything my parents have given my sister and I all of our lives. Every time I'm with my family at the house I feel such deep love, pride and happiness. I am forever grateful for all of the amazing sacrifices my parents have given. I am so truly fortunate to have such an incredible family that have loved and supported me all of these years and continue to do so to this day.
2. Composition
  1. Opens in Gb with some triads and a happy melody in half time. The second section is three over four, starts in half time into double time using Fo, C7 and B7 in the right hand of the piano and the bassline is doubled. Solos in Gb over the chords and feel of the first section. The final section is in Abm and is built off of a simple motif using Db6, Cb6, Bbm(b6) and Abm6. Broken up into two bars of ¾, a bar of 4/4 and two bars of ¾. Builds throughout the section then returns to original dynamic. Ends with half time, Gb triads trailing off.
The Sun’s First Warm Rays
1. Concept
  1. I wanted to write a tune based on vikings and the story begins with the sun rising and shining for the first time of the day over the mountainside as the morning fog rises. The battle begins and rages on throughout the piece. There were many casualties but the vikings believe that this is their destiny. The ending is the anthem of glory as the dead make their way to the golden walls of Valhalla. Into glory ride!! Hail!!! Victory!!
2. Composition
Takanassee
1. Concept
  1. Growing up as a kid in the 90’s on the Jersey shore, going to the beach was what summer life is about. The beach club my family went to was in Long Branch called Takanassee and generations of families would go to that beach club for decades. Summer after summer we would go down to Tak. at the beach club that was originally called the U.S. Lifesaving Station no.5. This is the founding of the coast guard and where they would help navigate ships at sea and save them from massive storms. The beach club shut down years ago and the historic buildings were abandoned. One of the buildings was moved but the main tower was destroyed by Hurricane Sandy in 2012. Regardless of it’s fate, I have many amazing memories with family and friends and this piece is about those great times down at Tak in the 90’s.
2. Composition
  1. The tune starts off in 11/4 with the drums starting and then the bassline and piano playing D and Bm. The A section is the main melody over the bassline played twice. The B section is an open rubato section of drum textures and piano and bass playing unison lines on cue. C-G sections are in 6/4, are short and always changing. The C section starts with drums, melody is doubled by the bass and right hand of the piano playing Dmaj7, C#m7b5, Bm, F#m, Gmaj7, Bm7, A7, Gmaj7, Em7. The D section changes the melody and the rhythm and order of the chords. The E section switches the melody to the right hand of the piano and the bassline is doubled. The F section drops the octave of the left hand of the piano and bass and goes up the octave in the right hand. The G section is a unison line voiced in fifths. The H section starts a fifth apart on the first notes and uses contrary motion based off of the intervals. The I section is the drums and bassline with a low cluster of notes on the piano ringing leading into solos. Solos in 11/4. After solos play D to the coda and tune ends with rubato bassline, drums and low cluster ringing on the piano.
Heimatlied
1. Concept
  1. My father was born in Germany and I love my German heritage so I wanted to write a piece based off of German folk music. “Heimalied” means “homeland song” and that’s exactly what it is. My great aunt Gerda was an important link to my german heritage and I wish she was around today so that I could ask her a million questions. I wrote this piece for her. I love and miss her a lot and writing this tune is my way of showing that and paying homage to my German heritage.
2. Composition
Overton Pl.
1. Concept
  1. My grandparents lived on Overton Place from the early 1960’s to 2007. The house was a beautiful, big house with many rooms and a big barn in the backyard. I have so many amazing memories there with my grandfather, who died in 1998 and my grandmother, who is 92 and still killin it. The melodies and feeling of the tune are of fondness and love which is exactly what I feel when I think back to Overton Place. I love them both very much and miss Pop like crazy. This piece is for them.
2. Composition
Eserev
1. Concept
2. Composition
Action Brings Good Fortune
1. Concept

This piece is based on the I Ching Book of Changes, chapter 24: Fu/Return (The Turning Point). It is an ancient chinese oracle that is a divination text, which means it is consulted for guidance and is interpreted using numbers and hexagrams. I recommend researching this further if you are interested because there is a lot to it. The first half of the tune is meditative and expansive and the second half uses a seven note ostinato with doubled bassline. The seven note ostinato ends the piece because the number seven is significant in chapter 24. “All movement is accomplished in six stages and the seventh brings return. Seven is the number of the young light and it forms when darkness is increased by one.”

2. Composition

The scale I use is a D Hungarian minor scale (D, E, F, G#, A, Bb, C#). The A section is bass playing rubato double stops with a D pedal with drum textures. The B section the piano joins with single melody notes, trills and low pedals. The C section is still rubato, piano pedals D while bass leads to the Bb7#11/D and E11b9/D cluster chords as it continues. Eventually creeping up to the climax of the bass trilling and the piano playing a grouping of sextuplets until everything fades out until there is just bass fluttering the bow on the strings. The D section is 7 over 4 and starts with drums. The bass and piano enter as the bassline melody is doubled and the right hand of the piano plays an ostinato in 7/4 which goes over the barline until it lines up again every seven bars. In D2, the bassline drops the octave and the last two bars of D2 are in 7/4 to get back to the top of D. D and D2 are played one more time and ritardando the last four bars of 7/4.

Graphic
1. Concept
2. Composition
The Swamp
1. Concept
  1. Hockey is my favorite sport and the New Jersey Devils is my favorite team. I have been a Devils fan for over 25 years and I was lucky enough to see them win three stanley cups. Their original arena is at a sports complex in East Rutherford called the Meadowlands. It’s called that because the arena is literally in wetlands, so the popular nickname for the arena was “the swamp”. We won two stanley cups inside that building and I have been to many games there from the mid-90’s to 2007 when the team built a new arena in Newark. The swamp will always be the real home of the Devils and that's what this tune is about. The first section is an anthem as you enter the building and see the ice. The second section is when the puck drops and they grind it out all season. The final theme is when they win the cup and skate it around the ice at the swamp. Go Devils!!
2. Composition
  1. The A section is an introduction to the piece. I was hearing a chordal melody in my head, so I wrote a single line melody and bassline first. I used this as an exercise to let my ear guide how I wrote it and how I used voice leading. It led me to some cool chord combinations that I may have not written otherwise. I went with the Miles Davis thing of “I’ll play it and tell you what it is later.” The B section uses Eb lydian dominant and is fast swing with a single line melody that is doubled by the bass. There are hits and walking bass joins as the piano holds out the Eb7#11 chord. B2 is the same idea but with a different melody. I wanted to try something with stripping the layers of the solo section away as it progresses, so the solo section starts with the piano with bass and drums accompanying. During the bass solo there is no piano comping and when it concludes it leads into an open drum solo. The drums play hits to get into B3, which is the same idea as B1 and B2 but another different melody. Hits lead into the C section