I’m still iffy on the 4th section of “The Coast,” called “Beach,” but I’m confident enough to release it into the wild. Details of this section’s programmatic and thematic content are on its own page here. I’ve also updated the full project playback, from the beginning through the middle of the 5th section (now called “Footprints”), on the project’s full Sibelius export page here. Although that playback stops suddenly (it’s incomplete!), you might infer that I’m getting close. I’m so incredibly excited!

“Beach” is just plain playful, in much the same way that “Boardwalk” was, though the activity level is much higher — we’re running in and out of the waves. As I mention in this section’s description page, I’m focused on fast-moving activities, ignoring what a lot of adults use beaches for: suntanning, fishing, reading, shelling, etc. Although I’ve been attentive to the full composition’s “program” (the narrative and visuals it attempts to illustrate), this is, in fact, a piece of music, which make it unadvisable to throw everything into the mix. I’d like to think that the entire composition is/will be very listenable, even if one isn’t following along with the “program.”

A few words about the mechanics of writing, for those who are interested…

I’m hoping to complete the creative part of my work within a few weeks, but a true “…complete…” is going to take longer. Although the playbacks you’re watching sound good enough (well, as good as an electronic export can), my learning journey includes the details required to make a real performance, with a real orchestra, possible. Providing high-quality scores and instrumental parts for an actual performance takes a lot of time. Bunches of learning curves there, separate from the creation of sounds. Rather than go back and repair mistakes, I’ve left things alone so that things won’t be perturbed as I finish the creative work of composing and orchestration. After that’s completed, I’ll have to copy/paste into a score that better reflects the things I’ve learned.

As an example, the orchestra includes four French horn parts. Those four parts are currently written on two staves, each including two parts. I’ll need to move all that to four staves so that each French horn player will has his own chart. I’ll then have to recombine everything for a conductor’s score, since a conductor will want a score that fits comfortably on a page, even when the entire orchestra is playing.

The work is slow, tedious, and less than exciting. But composers don’t get to just create — they’re also required to adhere to the old adage “The job isn’t completed until the paperwork is done.” Great orchestral composers often don’t do all of that work themselves, since publishing musical scores, especially going back a century, required professional manuscript technicians. These days, composers have the ability to do that finish work themselves, using the same software they created on. Many of us have no choice without the reputation and fiscal capabilities to hire that work out. That’s me! But building better scores and parts also includes a careful examination of the needs of individual instrumentalists. I’ve even submitted parts to a few I know for editorial and playability help. Even if the thing never gets performed, that process has been fun, and instructional.

Needless to say, I’d love to visit a real “Coast” very soon! This work has been quite hard — I need a vacation. And listening to this composition while I walk the beach sounds like heaven to me.

“4: Beach” is discussed and presented on its own page here. You can hear the project so far here. And, of course, the work has a full project page, which has full details, here.