Symphony #1

Movement 1

Movement 2

Movement 3

Movement 4

IF2 Chord Progression with Melody 2.0

This is an experiment, using the same basic material as 1.0; however, this time, instead of moving around the ‘circle of fifths’ (derived from within the overtone series of R20), the progression goes around the opposite direction (i.e. the ‘circle of fourths).

Since the circle of fifths is derived from within the overtone series, instead of by the Pythagorean method, the tunings between the key centers are not all perfectly in a 1:3 ratio. ( More on this later, in the article Integrated Frequency 2.)

This is an illustration of how the cycle is perfectly tuned by the 1:3 keys, while the version 1.0 is not derived in a 1:3 ‘perfect’ ratio between the keys as they modulate.

As in all of these experiments, the tempo, tuning and key are congruent in frequency.

IF2 Chord Modulation, with Serial (P,R,I,RI)

This is an experiment in modulation between the three overtone series ‘keys’ of R30 (B), R20 (E), and R22.5 (F#). There are chord progression sequences that can be made within a single overtone scale, as shown by previous experiments. In this experiment, however, I seek to expand the harmonic possibilities by essentially creating a tonic, dominant, and subdominant framework.

In addition to the above concept, I added a 12-note chromatic line, developed with the common serialism components of Prime, Retrograde, Inversion, and Retrograde/Inversion.

As the keys shift, the tempi and 12-tone lines also shift. Since the 12-tone line is derived directly from the same overtone series of its underlying harmonies, we see that serialism and harmony can co-exist.

In this work, tempo, harmony, and chromatic serialism are compatible and congruent.

IF2 Chord Progression, with Melody

This experiment, using Integrated Frequency, is an exploration into harmonic progressions both within the overtone series itself, as well as modulation to other overtone series following the circle of fifths derived from the original series of R20 (root 20 Hz). (More to come on this process in Integrated Frequency II ).

In this short piece, six overtone series are used, along with their corresponding tempos. The tempos are also in relationship to one another ‘by fifths’ if you will, following the same sequence. Within each key, harmonies are derived in their own progression. Think of it as a harmonic progression inside another harmonic progression.

The point to this experiment is to show the subtle intonation differences between the keys as they modulate from one to another. Everything is inter-related to R20, which creates cohesiveness, even though there are multiple microtonal shifts.

Hope you enjoy!

Integrated Frequency 2 - Bi-tonal Melody with Harmony

This is an experiment in modulation between the key/tempos of R40 (eighth-note = 150) and R27.5 (eighth-note = 206.25). The melody, harmony, and tempo all shift from one key to the other, alternating back and forth, from zone to zone. Creating tuplets in the melody, also gives rhythmic dimensionality to the changing tempi.

More information: Integrated Frequency

Hope you enjoy!

Integrated Frequency 2 - 2-Key Counterpoint

This is an experiment using two distinctly composed lines, each in its own key. The keys are R70 (D Major) in the tempo of 131.25BPM and R40 (E Major) in the tempo of 150BPM. The lines interact in an 8-bar pattern in a 7:8 relationship.

Interestingly, even though the lines are similar in timbre, the tuning of each line causes the ear to psychoaccoustically ‘track’ with each line without confusing them. In panning, they end up trading places, and the ear can follow the motion.

See more about Integrated Frequency.

Hope you enjoy!

Integrated Frequency 2 - Full-range Melody, 3 Keys

This experiment deals with thematic materials used from Integrated Frequency 1: ‘Full-range Melody’.  However, in this case, the melodic phrase is used in three different keys: F#, B, and E.  Each key is derived from within the global root of R20.  The corresponding tempi relating to each key is as follows: 

F# = 168.75BPM 

B = 112.5BPM 

E = 150BPM 

The tempo/scale relationships formed between each of the parts create a macro-polyrhythm of 9:12:16 as the melodies repeat.  Each of the relationships constantly change as they inter-weave with one another. 

Hope you enjoy!

Integrated Frequency 2 - Harmonic Modulation

This is one of my second group of experiments in Integrated Frequency, developing key modulation. I took the Harmonic Progression material, from the Integrated Frequency 1 project, and utilized an extended form of the Overtone Series through other branching Overtone Series scales.

Modulating through all 12 chromatic keys, and utilizing rhythmic sounds derived from fundamental frequencies of R20 (root, 20Hz), the thematic harmonic progression material is stated three times in three different tempi, all inter-related.

Hope you enjoy!

Gelukkig (for String Orchestra) EW

Here is a version of Gelukkig I made with the East West Symphonic Library. The many textures and articulations necessary for this work to be successfully produced maximized the software’s capability.

Hope you enjoy it.

There Is Life (score) and Track

Here are a couple more thoughts on ‘There Is Life’. The score shown below does not contain the full orchestration, which would probably be too small to read in this format. However, this condensed score shows the basic concept of the piece. Perhaps someday it could be done with a live full group consisting of rhythm section, choir, praise team vocalists, and orchestra. Until then, I’m glad to have this presentation.

Also, since the track itself bears a good bit of work, I wanted to share it without vocals. This was my first attempt at using EastWest Hollywood Orchestra sample library in conjunction with Logic X. Hope you enjoy!

(without vocals):

There Is Life (for Vocal Ensemble, Rhythm Section and Orchestra)

This was an experimental piece, written for Easter, in which the tempo gradually morphs through the middle of the song, becoming twice as fast at the end, as the opening material returns in the same tempo in which it started, only now in ‘cut-time’. In order to make this rhythmic transition successfully, a click-track arrangement was made to guide the rhythm section players successfully.

Due to the pandemic, Easter 2020 presented a big challenge: how was I going to do a piece of this magnitude? I had already started producing the orchestration and arrangement with Logic Pro and the EastWest Hollywood Orchestra sample library. I ended up digitally producing all instrumentation together with two phoned-in choir parts, and a four-member vocal ensemble, including myself.

The original concept of the work was to blend the various stylistic elements of: 1) Praise and Worship, 2) Symphonic Orchestration, 3) Elements of folk/spiritual, using the pentatonic scale, and 4) an Obligato Choir line throughout. The piece starts in F minor and concludes in Eb Major after going through a passage of chromaticism towards the end of the piece.

I wrote the original version several years ago with limited success in our performance. The difficulty it presented to our group was a rhythmic one. Making the ‘twice as fast’ change was difficult for our team at that time. I knew the only way to successfully achieve it would be to use click across the entire group, including vocalists. Finally having this capability in my grasp, the pandemic situation caused me to abort the larger group idea, replacing the instrumentation with a fully produced track.

Following is the video performance used for Odessa Christian Faith Center’s Easter 2020, featuring Ana Young, Carmen Young, Debra Bledsoe, and myself:

There Is Life (©2020 Lowell Hohstadt)

There is life

There is life in the River,

life in the River which flows from the Throne,

it flows from the Throne,

it flows from the Throne

There is life

There is life in the breath of His Presence

There is peace beyond measure,

beyond measure,

a peace freely given,

freely given

It surrounds, it surrounds  

and it covers like a flood

covers like a flood,

like a flood

There is fruit precious fruit

which grows on the Vine,

inside there is seed to be planted

If it falls up on ground that is fallow and moist,

its power, its power,

its power will reflect all of Heaven,

all of Heaven

There is fruit precious fruit

which grows on the Vine,

inside there is seed to be planted

If it falls up on ground that is fallow and moist,

its power, its power,

its power will reflect all of Heaven,

all of Heaven

All of Heaven

Jesus is the Resurrection

Jesus is the life

No one comes unto the Father

No one comes unto the Father of Lights

with Whom there is no variation,

with Whom there is no shifting shadow of turning

No one comes unto the Father of lights

by any other way but Jesus

Jesus is the Resurrection Jesus is the Life

Jesus is the Life

Resurrection, Resurrection

Resurrection, Resurrection,

If you believe there is nothing impossible

If you believe there is nothing impossible

For He said, "I Am the Resurrection, I Am the Life,

He who believes in Me will never die."

Resurrection, Resurrection

If you believe, If you believe,

All things are possible

Resurrection, Resurrection,

Resurrection, Resurrection,

Resurrection, Resurrection,

Resurrection and the Life,

Resurrection and the Life

There is life in the River

which flows from the Throne,

There is life in the breath of His Presence

There is peace beyond measure, a peace freely given,

it surrounds and it covers like a flood

There is fruit, precious fruit

which grows on the vine,

inside there is seed to be planted

If it falls upon ground that is fallow and moist,

its power, its power,

its power will reflect all of Heaven

All of Heaven

He said, "I Am the Resurrection. I Am the Life.

I Am the Resurrection. I Am the Life.

Believe in Me, Believe in Me,

You'll never die.

I Am the Life, I Am the Vine,

I Am alive, alive, alive."

There is life,

There is Life!

What Child Is This (for String Quartet)

Here is an arrangement of the well-known Christmas hymn. Hope you enjoy!

What Child Is This (for string quartet) Video

I enjoyed writing this arrangement/composition of the well-known Christmas carol. My family, along with Tim Tyler on viola are all involved, including Jonathan Hohstadt who did the video.

I hope you enjoy it.

Praise to the Lord, the Almighty

I enjoyed singing this hymn growing up in church.  I hope you like this new string quartet arrangement.

Impressions (for Soprano Sax, Violin, and Piano)

This piece was premiered by some wonderful musicians at a West Texas A&M music faculty recital. 

(Click here to purchase score and parts.)

Crown Him With Many Crowns (for String Quartet)

Here is a new string quartet arrangement of the famous hymn "Crown Him With Many Crowns".  I hope you enjoy!

Silent, Holy Night

Here's a composition I wrote merging the melodies of two famous Christmas hymns, "O, Holy Night" and "Silent Night."  Enjoy! 

Great Is Thy Faithfulness (for String Quartet)

Here's a fresh arrangement/composition of the well-known hymn.  Hope you enjoy!

The Old Rugged Cross (for String Quartet)

In my opinion, these are some of the most powerful lyrics ever set to song, depicting the Christian faith.  I hope you enjoy this arrangement for String Quartet. 

On a hill far away, stood an old rugged Cross
The emblem of suffering and shame
And I love that old Cross where the dearest and best
For a world of lost sinners was slain

So I'll cherish the old rugged Cross
Till my trophies at last I lay down
I will cling to the old rugged Cross
And exchange it some day for a crown

Oh, that old rugged Cross so despised by the world
Has a wondrous attraction for me
For the dear Lamb of God, left his Glory above
To bear it to dark Calvary

So I'll cherish the old rugged Cross
Till my trophies at last I lay down
I will cling to the old rugged Cross
And exchange it some day for a crown

In the old rugged Cross, stained with blood so divine
A wondrous beauty I see
For the dear Lamb of God, left his Glory above
To pardon and sanctify me

So I'll cherish the old rugged Cross
Till my trophies at last I lay down
I will cling to the old rugged Cross
And exchange it some day for a crown

To the old rugged Cross, I will ever be true
Its shame and reproach gladly bear
Then He'll call me some day to my home far away
Where his glory forever I'll share

So I'll cherish the old rugged Cross
Till my trophies at last I lay down
I will cling to the old rugged Cross
And exchange it some day for a crown

Brass Quintet #2

It was a great honor to recently have my Brass Quintet #2 performed by the Lone Star Brass of the Midland-Odessa Symphony & Chorale at the Wagner-Noel Performing Arts Center.  Along with being excellent musicians, the piece was played by super-nice guys, some of whom I have had relationship with for decades.

I wrote Brass Quintet #2 approximately 13 years ago, and was pleased to have its premiere April 3, 2016.

The piece is written in four contrasting movements.  Mvt. 1 is Renaissance-like, Mvt. 2 is aggressively contrapuntal, Mvt. 3 is peaceful with a hint of jazz sonorities, and Mvt. 4 is motivically cumulative, finishing with a bright 16-note passage.

I hope you enjoy listening.