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About the Composer
Composer and educator Douglas Brown (b. 1970) is a graduate of Wayland Baptist University, receiving a bachelor's degree with a concentration in Music Theory & Composition. He served three terms as president of the Wayland student chapter of the Society of Composers, Inc., and is proud to have studied for eight semesters under the tutelage of composer Gary D. Belshaw.
In May 2012, Mr. Brown finished the next level of graduate work at Houghton College, completing study under David Davies and Sun Mi Ro with a Master of Music degree in music composition. He is a founding member of the Houghton Art Music Composers.
Mr. Brown is a candidate for the Doctor of Musical Arts degree from West Virginia University, having studied under John Beall and David Taddie. His current research focus is on the hyperscale, a scale that exceeds the limits of one octave by using differentiated pitches that are distinguished from those in the original octave.
He was the student representative for SCI Region III for the 2015-17 term, and now serves as president of the WVU student chapter, SCORE, for 2017-18.
Mr. Brown is also a member of the College Music Society (CMS), American Society of Composers, Authors and Publishers (ASCAP), and the Christian Fellowship of Art Music Composers (CFAMC), the latter for which he served as national board secretary in 2016-17.
His music publication business, Three Candles Music, champions the new music of living composers.
Representative List of Works
�� Updated March 31, 2017
Instrumental - Solo
A View from the Front Porch for Violin solo
Winter Landscape for Bb Clarinet solo with Piano accompaniment
Register Etudes for Bb Clarinet solo
� Chalumeau Etudes Nos. 1-2
� Clarion Etudes Nos. 1-2
� Altissimo Etudes Nos. 1-2
Parody No. 3, or
Balanced Third-Generation Flexibility, or
How to Make a "C" in Composition, a parody for Horn with Piano accompaniment
I Don't Know Yet, for Horn with Piano accompaniment
Oh, Now I Know... and Wish I Didn't, for Horn with Piano accompaniment
No Return, for Trumpet solo and Piano accompaniment
Running with The Lion, for Piano solo
Snow Theme and Spring Variation, for Flute solo
Streetwise, for Tuba solo with Piano accompaniment
Instrumental - Orchestral
Clarinet Concertino No. 1, "Bittersweet", for Clarinet and String Orchestra
Un Sospiro, transcription from Franz Liszt's Three Concert Etudes, for Full Orchestra - 2223 2020 Timp Str
Einleitung, for Full Orchestra - 3233 4220 4Perc Str
Lullaby for a Survivor, for Double String Orchestra
Instrumental - Chamber
untitled, for String Quartet
III. Allegretto frenetico
Lento, for Woodwind quartet (Fl/Pic,Ob,Cl,BCl)
O the Deep, Deep Love of Jesus, arrangement for Brass Quintet with optional Snare Drum
Twitterpated, for Viola duet with Piano accompaniment
Homesick for Saxophone (SATB) and Horn Double Quartet
Elbow Room, for Marimba Trio (six hands, one marimba)
Vocal - Solo/Duet
The West Wind for Soprano duet with Piano accompaniment;
text by American poet William Cullen Bryant
We Pursue God Through Our Music for Soprano solo with Piano accompaniment
There Is a Solemn Wind Tonight for Medium-Low Voice solo with Piano accompaniment;
text by British poet Katherine Mansfield
Thoughts on the Works of Providence, a song cycle for Soprano solo (also in progress)
text by American poet Phillis Wheatley
1. Arise, my soul, on wings enraptur'd
2. Ador'd for ever be the God unseen
3. Almighty, in these wondrous works of thine
4. Hail, smiling morn, that from the orient main
5. Shall day to day and night to night conspire
6. As reasons pow'rs by day our God disclose
Servant Song (arr.), for Soprano and Alto (MS) duet with Piano accompaniment
�� O altitudo divitiarum, for Coloratura Soprano with Orchestra accompaniment
Vocal - Opera
The Problem with This German, a Comic Operetta for Two Basses and Piano
untitled 3-act dramatic opera concerning mental health issues
in progress, approx. 15% complete
Pass This Class, a One-Act Comic Opera
for six soloists (ColorS, LyricS, MezzoS, Ctralt, LyricT, Bari), plus chorus
in progress, approx. 60% complete
Vocal - Choral
Psalm 132, a song of ascents, for SATB Choir
Sleepless, for SSAATTBB Choir;
text by American poet Sara Teasdale
Psalm 124, a song of ascents, for SATB Choir
Blessed Genesee, for SSAATTBB Choir
Mask, for SATB Choir
Use the audio player above for a MIDI realization of the piece. For a video of the premiere performance, click here.
A colleague asked me if I would write a trio to be played on one marimba. While three players can fit comfortably on one side of a five-octave marimba, they cannot physically shift around too far without bumping elbows, hence, the staging concept and title were born, almost out of necessity. Elbow Room is set up as a comedy of sorts, with intentional crowding-out and voice-crossing, requiring creative sticking in close proximity in some instances. Though some places are marked in the score, players are encouraged to take the initiative to ham up some of the other more obvious (and maybe less obvious) unmarked places where conflict of elbow room could occur.
Because of the unique omni-directionality via downward transmission by the resonators, this piece allows all three marimbists to make a trip around the keyboard once without fear of having the body block the sound from the audience. Each marimbist spends more or less time playing on the back side, predominantly on the "black" keys, which creates opportunities for some unusual textures and eye-catching crossing of voices.
Programmatically, Elbow Room opens with each player approaching the keyboard one at a time, as if each had never planned to play together in the first place. Junctions of misunderstanding result in some players getting pushed off the end of the marimba, which then allows the players to resort to the back side of the keyboard, the only place now left to play. Throughout the work, the players eventually learn to work together with the occasional fit of selfish independence thrown in for good measure.
A pair of similar three-note rhythms (dotted-eighth, eighth, dotted-eighth; and dotted-eighth, dotted-eighth, eighth) drive the exposition of Elbow Room motivically. While these rhythms can be difficult to differentiate at a fast tempo, the part for the second marimbist is set up in a way that requires the first marimbist to play the rhythm synchronously exact. The result is an entertaining, catchy main theme that is pervasive through most of the piece.
Use of both sides of the keyboard highlights the middle of the piece, resulting in a contemporary chorale-like structure dominated by wide swaths of arpeggiation. The retransition to the recapitulation contains a pop culture reference waiting for someone to find it.