Sunset on the Bluff, Op. 28 (2025)
mixed chamber ensemble
Commissioned by the LMU Chamber Ensemble, Class of Spring 2025; Dr. Tania Fleischer, director.
ca. 8:30
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Program Notes
Sunset on the Bluff is a rich harmonic landscape with rhythmic grooves that creates a distinctive and immersive listening experience. Commissioned by the LMU Chamber Ensemble, Class of Spring 2025, this piece was written for a rather unique combination of instruments: flute, oboe, clarinet, alto saxophone, bassoon, euphonium, piano four-hand, and celesta.
Before I started sketching out ideas for the composition, I met with the students via Zoom to discuss their musical preferences and the overall sound they envisioned for the piece. A number of the musicians requested that I utilize the lower registers of their instruments. Additionally, they wanted the piece to have rhythmic qualities that would inspire movement, like a dance. Following the meeting, I created several initial sketches in contrasting styles and shared them with the students for feedback. After reviewing their responses, it was clear that one sketch in particular resonated with them the most, and it ultimately became the foundation of this composition.
The harmonic language of Sunset on the Bluff is largely based on the Phrygian dominant scale (R - m2 - M3 - P4 - P5 - m6 - m7), the fifth mode of the harmonic minor scale. I initially considered C minor as a tonal center, inspired by the fact that two members of the ensemble had recently performed my Duet in C Minor, Op. 3. However, I soon felt that minor was too ‘somber’ for the desired mood. I sought a brighter, more uplifting sound. C Major felt somewhat conventional, so I chose to instead experiment with altering the second and third scale degrees—transforming the major second and minor third (natural minor) into a minor second and major third (Phrygian dominant). This modification resulted in a warm, mystical tonal color that I found particularly compelling, especially when harmonizing melodies to highlight the augmented second interval. As a result, most of the melodies in the piece are harmonized in thirds and/or sixths to bring out these unique tonalities.
Rhythmic development plays a crucial role in the piece, where the meter changes between simple (4/4 and 3/4) and compound meter (6/8 and 9/8), keeping the eighth note constant across these meter changes. I enjoy writing music that shifts meter but preserves a constant subdivision. This technique allows for an evolving rhythmic landscape without disrupting the underlying sense of pulse.
In addition to the melodic, harmonic, and rhythmic structures, I was inspired to experiment with prepared piano techniques, such as muting specific strings and striking them with a mallet. These relatively unconventional techniques add a unique rhythmic and sonic dimension to the work.
For students at LMU, the bluff is a beloved part of their college experience, offering a breathtaking panorama of the Los Angeles skyline all the way to the Pacific Ocean, where students gather in community and friendship. Sunsets on the bluff are magical, painting the sky in vibrant oranges and pinks, providing a brief respite from academic pressure, and a chance to reflect and recharge amid the awe-inspiring beauty that surrounds them.
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