Composer's Toolbox Blog

October 13, 2017


The following analysis of my work Divinitus was posted on the Composer's Toolbox blog written and hosted by Dan Lis. I am grateful for his words and assessment of my work. Please read below . . .


"Like the previous work featured in this score call, Timothy Lee Miller's concept is religious/spiritual.  Take a look at the SCORE, following along with the recording.





Firmly rooted in the American Mavericks tradition, this work fuses hymns with polytonality and misalignment, a la Charles Ives.  Take a look at the four hymns in the beginning:


Blessed Be The Name








Eternal Father Strong to Save








On Jordan's Stormy Banks





Fairest Lord Jesus






The use of polytonality and collision provides this work with a variety of textures, gestures, and moments.


For example, measure 19 has bell-like arpeggios in the guitar juxtaposed with glockenspiel arpeggiation, overlaid with a static harmonic field in the clarinet and violin, and a supply of fifths in the piano.  This texture of chaotic clarity is destroyed with the piano's sforzando in measure 20, but the texture clears up again as the static harmonic field is reinforced (as the sforzando dies off), leaving us with clear piano perfect fifths and a quartal chord in the guitar:























A new texture emerges at measure 26, along with a new tempo marking.  It is worth noting that this piece is largely sectional, with most sections delineated by specific increases and decreases in tempo marking.























Here we encounter one of many static textures.  It seems that the American Maverick tradition is taken in new directions in this piece; the highs come at a more accelerated pace but last shorter, and the lows take on a clearer, less muddy texture and ambience.


For example, look at measure 56.  The use of space and spaciousness is clear, but there are also elements of synchronicity that are rampant.  There is almost-perfect homophony up until measure 73, a transition measure that leads us into a run-filled, fleeting flurry of notes.  Yet, to keep the texture clear (and I assume also to help the performers), there is still relative homophony.























In contrast, passages such as the runs from measure 192 to 199 give us a sense of flying and diving, intersecting and interweaving counterpoint in a polytonal harmonic field:























Here the materials of the work are spelled out in a complex, but comprehensible, manner. The music is rife with overlaid rhythmic patterns, but the score clearly functions in 4/4, both giving the performers something to hang onto, and also allowing the listener to not be too overwhelmed with sonority.


It is worth noting that in this final section, we are supplied with the hymn “Holy, Holy, Holy” in the piano:







This is the final work to be analyzed in this call for scores!!  Let's jot down some of the things we've learned in this work, as a farewell to both this piece and the project at large.


1     A tradition can be followed, but does not have to consume a piece.  This work adapts the maverick tradition of Charles Ives by translating it into a more sectional, less gradually/more suddenly textural-changing, and overall more clearly timbred, piece that still retains elements of quotation, collage, juxtaposition, misalignment, and polytonality.


2     A good recording is a must if you want to send out your music to places.  Even though this recording has a little too much reverb in my opinion, it is one of the reasons this piece “stuck out” to me (besides the quality of the score).


3     You can channel your spiritual tradition without making a piece overly religious.  This work fuses hymns and divine allusion with sometimes esoteric and sometimes more accessible structures and harmonies, but does not overtly give a sense of religion.  This may make the piece have a wider appeal, because everyone comes from their own societal and personal spiritual position (or lack thereof).


It has been great to dig deep into pieces like this. The next major project for this blog is finishing up the Young Composer Score Call analyses.  Stay tuned!


In the meantime, feel free to give this post a like, comment, or share.  Most importantly, stop reading this and go compose!!!"


Dan


Good stuff!! Thanks, Dan.


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Recording Complete

September 19, 2017


The recording, editing, mixing and mastering is all complete on the tracks for my first solo CD project. The album is titled "Something More" and is to be released in March 2018 by PARMA Recordings on their Ansonica label. This is a project that has been more than two years in the making and many years in the developmental process. Originally the album was to be named "A Day in the Park," which is the subtitle to a song that I wrote for my son Sebastian called Sebastian's Day Off: A Day in the Park, which somewhat chronicles a day in the park following my then five-year olf son around the park. The project also included three tunes dedicated to  three of my mom's sisters, but I decided late last year to write songs dedicated to the remaining two of my mom sisters and changed the title of the project to "Something More." The title comes from one of the songs on the project by the same name, which is dedicated to my wife, Virginia. So the whole theme of the project changed from one of playfulness (I replaced three tunes recorded last year with the newly written pieces for my mom and the remaining two sisters) to one of dedication to my mom and her sisters. The tunes are no less playful, but each piece on the album is now dedicated to family members, including the one to my son Sebastian, and Something More to my wife. I am excited and relieved that the work is done, and that all of the material is now in the capable hands of PARMA designers and engineers to complete the project. On the the next big thing!


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The Wyoming Festival Update

August 13, 2017


I just returned from a ten-day residency at the Wyoming Festival-New Music in the Mountains in Grand Teton National Park. The festival is the brain-child of composer Anne Guzzo of the University of Wyoming, and is in its second year. The program invites six composers from a pool of applicants to attend the festival, which is held at the University of Wyoming-Grand Teton National Park Research Station located about an hour north of Jackson Hole, Wyoming. Also in residence is a featured composer who conducts seminars and offers private one-on-one sessions with the composition fellows to review their own music. Composer Forrest Pierce from the University of Kansas served in that role. In last years' inaugural event, Alex Shapiro was the composer-in-residence.


The fesitvals' focus was on the natural environemt of the park and the upcoming full solar eclipse, which will pass directly over the park on August 21st. Each composer was asked to write a string ensemble piece, from solo to quintet, up to seven minutes in length within those guidelines. All pieces were rehearsed and performed by string players drawn from the Grand Teton Music Festival Orchestra, which was performing concurrently at its own festival in Teton Village during the Wyoming Festival. The performers included Holly Mulcahy - principal violinist of the Chattanooga Symphony Orchestra, Mary Corbett - violinist with the Florida Orchestra, Anna Kruger - acting principal violist of the San Francisco Ballet, Amy Leung - freelance cellist in San Francisco, and Rick Barber - principal bassist of the National Symphony Orchestra. The concert was held on Thursday, August 10 at the historic AMK Ranch, which featured world premieres of eight pieces by the composer fellows and program director Anne Guzzo and composer-in-residence Forrest Pierce. Performing my work Carmina solis et lunae were Holly Mulcahy, Anna Kruger and Rick Barber. A recording of the event will follow shortly.


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Illumine, Wyoming, Opera, GoFundMe

July 31, 2017


I am thrilled to announce that I was selected as the recipient of the 2017-18 Illumine Commissioning Prize. The commission is granted by the ensemble illumine, a Philadelphia-based trio that believes in an intimate, comfortable concert experience that consistently engages the whole audience. The commission is for a new work for mezzo-soprano, violin and piano to be delievered and performed during the 2018 concert season. The ensemble is a total family affair made up of husband and wife Kaitlyn Michelle Waterson-mezzo-soprano and David Matthew Brown-violin, and David's mother Jodie Levine-Brown-piano. I am looking forward to working with this vibrant ensemble in the creation of a new work for 2018.


I am traveling on Wednesday August 2nd to Jackson Hole, Wyoming for a 10-day residency at the Wyoming Festival-New Music in the Mountains. I was selected as a compostion fellow for this years' event, which is held each year at Grand Teton National Park. I have written a new work - Carmina solis et lunae - a string trio, which will be workshopped and premiered during the festival. Performing will be violinst Holly Mulcahy, violist Anna Krueger and bassist Rick Barber. I am one of six composition fellows who will be in attendance at the festival, which is held in the rustic confines of the historic AMK Ranch in the national park.


I have begun work on an independent opera project entitled The Bird Lady, which has evolved for a set of two art songs that I wrote with lyricists Linda Marcus and Julie Meyers. The libretto is by author, lyricist, songwriter Germaine Shames. So far it has gone well, but writing an opera is a very long and slow process, so don't expect to see anything from it for a while. I'll keep you posted.


And finally, I am hoping to wrap up my GoFundMe campaign by the end of the summer. I have been disappointed with the lack of support I have received on this project. I know there are lots of great causes to support out there, but just a little bit of support from a few people can go a long way in helping someone reach their goals. If you can see your way clear to helping out even in the smallest way, it would be greatly appreciated. Click HERE to learn more about my campaign and to make a donation. THANK YOU!!


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Hello Summer

June 1, 2017


Well, maybe not quite, but June is upon us, and the year seems to be melting right before our very eyes. Anyway, I just completed a commission from PARMA Recordings for an orchestral transcription of Branches of Singularity: A Concerto for Symphonic Band by Willem van Twillert, a Dutch composer and organist. The piece is scheduled to be recorded by the Moravian Philharmonic Orchestra for PARMA Recordings in Ouloumuc, Czech Republic later this summer. Twillert is a 1976 graduate of the Conservatory of the Music Center in Amsterdam and was a finalist at the French Organ Grand Prix de Chartres in that same year. He has composed numerous works for organ and chorus, and his music is featured on more than a dozen CDs. It is an honor to have been chosen to transform his work into a piece for orchestra. I look forward to hearing the results of the recording.


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Upcoming Events

May 20, 2017


The summer is nearly upon us, and my calendar is filling up fast. First up on the docket is a concert of the New York Composers Circle, which will include a premiere performance of my The Bird Lady, a set of two art songs I wrote last year with lyricist Linda Marcus. The concert will be held later this summer at Saint Peter's Church at 54th and Lexington in New York City - date is yet TBA. I am in the process of transforming The Bird Lady into a chamber opera with librettist/lyricist Germane Shames, whose compelling work You, Fascinating You has received critical acclaim, both as a novel and a Broadway musical. More on this as it develops over the next year (or so).


In August I will be participating in the Wyoming Fesital - New Music in the Mountains as a composition fellow. The ten-day event is held at Grand Teton National Park in rustic settings where several composers and performers of new music will gather to compose, discuss and perform new music. This year's theme is the solar eclipse, which will occur on Monday, August 21. Very much looking forward to participating in this event.


I am also finalizing the materials for my A DAY IN THE PARK solo CD project, which is being produced and released by PARMA Recodings sometime in the next year. I have been running a GoFundMe campaign to help offset the expenses of the project,  which you may read about HERE. After reading about the project, a generous donation on your part would be greatly appreciated, and it will go a long way in helping to bring this project to fruition. I have already recorded eight small combo jazz pieces (quintets and octets) for the project, and I have three more to record sometime later this summer. More details on when they will be recorded will follow as soon as I have locked down the details.


In further news, my piece Divinitus will be the focus of a study of textural and contrapuntal fluidity by Dan Lis on his popular website Composers Toolbox. The exact date of the study will be announced at a later date. Stay tuned for more on that, and other events as they unfold!!


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New Focus

April 22, 2017


Having recently been hired to write the music soundtrack for a video game, which is currently under development, I have found myself with a renewed interest in perhaps pursuing more film music opportunities. And to that end, I just completed an online masterclass with film composer Hans Zimmer, which helped me to develop a set of demo cues that will perhaps help me to find interest within the film making community for my music. You can check out those cues HERE. Although there is a huge amount of competition and absolutely no guarantees whatsoever of success, I am following up on a few leads and potential insider help to at least crack the door open just a bit. More to come on that hopefully soon!


I have also been more focused on writing works of a different dramatic nature. I am trying my hand at opera, which is something that I have always been somewhat intrigued with. I remember during my undergradute days at Tennessee being told by a friend that if I ever wrote opera he would kill me. Sorry to disappoint, David, but here goes! I have applied for several opportunities (commissions, apprenticeships, etc.) that I am hopeful will come to fruition. I have also made a rather happenstance acquantance and potential collabrative arrangement that I am exploring in the writing of a chamber opera. I'm not going to spill the beans on it just yet, but stay tuned for an exciting development that I will share in the not too distant future!


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GoFundMe Campaign

April 15, 2017


Ah, tax day in America, the day that I used to proclaim as the "Get My Wife Back" day. She is a tax accountant and spends many overtime hours in rushing to meet the deadline for filing taxes. This is year was somehwat less stressful due to her switching jobs last fall and having far fewer responsibilities.


Anyway, an update on my GoFundMe campaign: I have not had as much success or as many donations as I would like to have thus far into the campaign, however, I am very grateful to those of my family and friends who have chosen to support my cause. I am raising funds to help toward the completion of what will be my first solo CD project. I have various orchestral, choral and jazz works that have been released on different compilation projects, however, this will be my first SOLO CD, which includes only my music. The CD will include up to ten of my small jazz ensemble pieces, mostly quintets and octets, as well as a reprisal release of the two big band pieces that were recorded in Havana, Cuba in November 2015. Those were released by PARMA Recordings on their newly minted label Ansonica as a part of the ABRAZO: THE HAVANA SESSIONS project. PARMA is also releasing my solo project, called A DAY IN THE PARK sometime later this year, however, it is contingent on being able to raise enough funds to complete the project. Unfortunately making a CD costs money, and sometimes we just need a little help to make it to the finish line. I hope that you will take time to read more about my project, and then chose to make a small donation to help see it through. You may learn more by clicking HERE.


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The American Prize

March 1, 2017


I am very happy to report that my chamber work 224 slices of pi for flute, cello, piano and percussion was just awarded an Honorable Mention in the Professional Chamber Music Division of The American Prize for Excellence in Composition. In January it was announced as a Finalist in the division, and I am thrilled that it made it into the winner's circle, even if just on the outside of it. The piece was written and premiered at the 2015 nief-norf Summer Festival for Contemporary Music in Knoxville, Tennessee. Performing were Chris Schelb - flute, Hannah Meyer - cello, Andrea Lodge - piano and Ryan Patterson - percussion. The American Prize is a national non-profit competition in the performing arts, which recognizes outstanding compositions and performances in numerous categories each year. Check out the recording HERE.


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NEW GoFundMe Campaign

February 10, 2017


So the GoFundMe campaign is in full swing and donations are beginning to come in. I am highly grateful to all who have contributed thus far. Please click the link above (the title) to learn more about my capaign, and please consider making a donation. Your donation, regardless of how large or small, will go a long way in helping to see this project through. Please consider donating today. >>> DONATE NOW!


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The American Prize

January 19, 2017


"Great News! I've just been selected as a finalist in the Professional Chamber Music Division of The American Prize for my chamber work 224 slices of pi for flute, cello, piano and percussion. The piece was written and premiered at the 2015 nief-norf Summer Festival for Contemporary Music in Knoxville, Tennessee. Performing were Chris Schelb - flute, Hannah Meyer - cello, Andrea Lodge - piano and Ryan Patterson - percussion. The American Prize, a national non-profit competition in the performing arts, will be announcing winners in my division next month. You can learn more about this prestigious national competition HERE, or follow the news on Facebook, or on Twitter, or you can find out by following me on Facebook, or Twitter as well (links at right). Now, about that GoFundMe campaign . . .


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NEW GoFundMe Campaign

January 9, 2017


The recording is done. Now it's time to put it all together. A new solo CD project titled A DAY IN THE PARK and dedicated to family members, both present and those passed, has been long in the making and has covered a lot of ground. I have always found that writing music that has ties to something or someone special means a whole lot more and holds a very special place in your heart. This project is a very personal telling of my love of family and my desire to honor them through my music. 


DAY IN THE PARK will feature some of my newest jazz works for both small combo and large big band. Included on this project are works for three of my aunts - for Ruby is "Ruby in the Ruff," for Mary Lou is "Boo's Bolero," and for Estelle is "Stellee & Jack." The title work, "Sebastian's Day Off: A Day in the Park," is dedicated to my son Sebastian. who is now nine years old.  Also to be included on the project are newly completed pieces dedicated to my mom called "Poochie's Waltz" and to my aunt Marie called "Inky & Marie." One more in the works is for my aunt Della Mae.


The small combo pieces, five quintets and three octets, were written over a period of several years and were recorded at Ovation Sound in Winston-Salem, North Carolina in May 2016. When I mentioned the initial concept of this project to fellow Vermont College of Fine Arts alum William Stevens, who is the owner of Ovation Sound, he invited me down to North Carolina to use his studio, and to meet and work with some of his friends. I was fortunate to be able to work with some of North Carolina's finest jazz musicians, including Brandon Lee and Steve Haines of the UNC-Greensboro Miles Davis School of Music. The other musicians included Annalise Stalls, Dave Finucane, Evan Ringle, Thomas Linger, Chris Boerner and Daniel Faust, all exceptional musicians. They did not disappoint!


In November 2015, I was part of the PARMA Recordings venture to Havana, Cuba to record several jazz works under the People to People Exchange humanitarian program. The trip presented the opportunity for me to be among the first American composers to travel to Cuba since the US government eased travel restrictions to the country. Two of my big band pieces, "Hot Miami Nights" and "On An Autumn Day," were recorded with members of the infamous band Irakere at Abdala Studios in Havana. The two pieces were released by PARMA Recordings' Ansonica Records on the two disc album ABRAZO: THE HAVANA SESSIONS, a collection of works recorded by eight composers on that trip to Havana.


During the final steps of planning this project, I was approached by Chris Robinson of PARMA, who offered to release the CD on their Ansonica label. This will be my fourth project with PARMA, and I have come to recognize that their mastery of recording projects such as this is great and their reach is far. I am honored for the opportunity and look forward to the completion of this ground-breaking project showcasing my jazz music.


Your donation, regardless of how large or small, will go a long way in helping to see this project through. Please consider donating today. >>> DONATE NOW!


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For Your Consideration - or not . . .

December 17, 2016


Well it was a nice dream while it lasted, being considered for nomination for a Grammy award, but alas, it was not in the cards. I think the powers that be miss placed ABRAZO: THE HAVANA SESSIONS into the wrong category to begin with. It should have been in the Latin jazz category, not in a classical category at all. Although the classical representation on the 2 CD set was steller - five gorgeous unaacompanied madrigals that set the music of  Roger Bourland to the poetry pf recently-deceased Chicano poet Francisco Xavier Alarcón, John A. Carollo’s Burlesque in an unlikely pairing of trumpet and guitar, and Michael Murray’s  After The Fall, a three-part setting of a poem by Jodi Kanter - there simply was not enough classical on the whole for it to compete in the classical compendium category. Oh well, next time . . .


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KC VITAs Fundaraising Gala 2016

November 25, 2016


I am excited to announce that my art song Stopping by Woods on a Snowy Evening will be performed by the vocal ensemble KC VITAs on their Fundraising Gala Concert on December 15th at the Simpson House in Kansas City, Missouri. The work was premiered on February 27, 2016 by soprano Emily Custer with Moriah Custer, piano at Bryan Recital Hall in Moore Musical Arts Center, Bowling Green State University,  Bowling Green, Ohio. KC VITAs, which is short for the Kansas City Vibrating Internal Thyroarytenoids, is a chamber vocal ensemble of professional singers committed to performing new music, benefitting composers, performers, and the future of contemporary classical music. Ticket information may be found HERE.


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For Your Consideration

October 31, 2016


I am happy to announce that my album Abrazo: The Havana Sessions is on the first ballot for consideration for Grammy nominations for the following categories:


Best Classical Compendium:

Abrazo: The Havana Sessions by Various Artists


Producer of the Year:

DAYRON ORTEGA

Abrazo: The Havana Sessions (Zalba Saxophone Quartet, Wilmia Verrier Quinones & Schola Cantorium Coralina Choir)


If the album is indeed nominated, then it's on to the Grammy's in February!


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Review of Works

October 25, 2016


On October 5, 2016 a review of three of my choral works was published in the German magazine Chorzeit - das Vokalmagazin. The review, written by Marie Schilp, the editor of the magazine, included "Be Near" (text by Jo-Hannah Reynolds), "The Garden of Dreams" (text by Madison Cawein) and "Tears" (text by Walt Whitman), and it was quite a favorable review. Continue reading


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PARMA's Cuban Project

October 20, 2016


PARMA’s Cuba project was featured on a program called New Hampshire Chronicle last night on WMUR9 (ABC affiliate), which was aired all over the state and then some. A great look at what is going on in Cuba these days with regard to music. My piece Hot Miami Nights is Featured prominently in the short dumentary. Have a look at the video HERE.


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The American Prize

October 19, 2016


Great News! I've just been selected as a semi-finalist in the chamber music division of The American Prize for my works 224 slices of pi and String Quartet No. 3. The American Prize will be announcing finalists in my division in several weeks. You can learn more about this prestigious national competition here: www.theamericanprize.org or follow the news on Facebook, or on Twitter.


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Classical Discoveries

September 19, 2016

by Marvin Rosen


I hope that you will be able to join me this Wednesday, September 21, 2016 from 5:30 until 11:00 AM for Classical Discoveries featuring a mixture of music just written and some beautiful little known early selections. Here is a list of some of the works, which will be presented this Wednesday: 



A Descent into the Maelstrom by American composer,  Christopher Coleman (1958) 


Grounds for String Orchestra (2014) by American composer, Peter Dayton (1990) 


Symphony No. 9 "Celestial Symphony" by American composer, Barbara Harbach (1946) 


Dreamlines (2008) by Turkish/American composer, Kamran Ince (1960) 


Kid's Play: A Fun Suite for Orchestra by American composer, Timothy Miller (1961) 


Symphony No. 5 by Ukranian composer, Valentin Silvestrov (1937) 


Stolen Moments (2008/2010) by American composer, David Rakowski (1958)


Concerto for Tuba and Wind Ensemble (2013) by American composer, Dana Wilson (1946)

. . . plus music by Osvaldas Balakauskas, Margaret Brandman, Eriks Ēšenvalds, Vladmir Godar, Guy Klucevsek, Ludmila Yurina, and others on WPRB 103.3 FM Princeton, NJ, or on the internet at http://wprb.com.


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New CD Release

September 8, 2016


Navona Records is delighted to present DASHING, a festive album for the holiday season featuring brand new works and arrangements of holiday favorites by several outstanding composers, with performances by The Stanbery Singers, the Moravian Philharmonic Orchestra, and the Salt Lake City Jazz Orchestra. Familiar faces and tunes make appearances here, such as Pyotr Ilyich Tchaikovsky’s perennial holiday favorite, Dance of the Sugar Plum Fairy from his ballet The Nutcracker. Henry Wolking provides a jazz arrangement of God Rest Ye Merry Gentlemen; likewise, David Tanner contributes with an arrangement of O Holy Night. His other work, A Visit from St. Nicholas, sets Clement Moore’s classic poem “’Twas the Night Before Christmas” to orchestra, with narration by Kerry Stratton. Delvyn Case and Timothy Lee Miller deliver rousing, spirited music with their Rocket Sleigh for orchestra and A Christmas Celebration for wind band, respectively. Continue Reading


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Live Interview on Classical Discoveries

August 18, 2016


Yesterday I was interviewed by Marvin Rosen on Classical Discoveries, which is a regular program on Wednesdays on WPRB 103.3 FM in Princeton, New Jersey. Marvin, in his 20th year of broadcasting this show, interviews composers while presenting many of their recorded works to the listening audience. The interview was broadcast live from 9:30-11:00 am, and we presented several of my works, ranging from works written and performed in 2001 all the way to my most recent CD releases this year. If you were unable to catch the interview live, you're still in luck. You may hear the recording of the entire interview by clicking HERE.


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Live Interview on Classical Discoveries

August 13, 2016


Please join Marvin Rosen on Classical Discoveries on Wednesday August 17 for a special live visit by composer Timothy Lee Miller, who will stop by the WPRB studio and present a number of his works during the course of the interview.The interview will take place live on WPRB from 9:30-11:00 am. Click on the title link above, then scroll down for a link to stream the interview live.


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NEW Solo CD Release

August 8, 2016


Today I am happy to announce the release for download my new CD project A Day in the Park, which features eight of my small jazz combo pieces. There are five quintets and three octets. The songs were recorded in May 2016 at Ovation Sound Studios in Winston-Salem, North Carolina. I was fortunate to be able to work with some of North Carolina's finest jazz musicians, including Brandon Lee and Steve Haines of the UNC Greensboro Miles Davis School of Music. The other musicians included Annalise Stalls, Dave Finucane, Evan Ringle, Thomas Linger, Chris Boerner and Daniel Faust, all exceptional musicians. Fellow VCFA alum Bill Stevens, owner and operator of Ovation Sound, contracted all of the musicans, as well as working as the recording engineer and the editor and mix engineer. I am thrilled with the results. Check out the individual recordings on the Jazz Music tab above, and then click your way over to BandCamp.com, the exclusive location for downloads.


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The reviews are in!

July 6, 2016


ABRAZO has been reviewed by the Latin Jazz Network and it is their Editor’s Pick / Album of the Month for July.  LJN has over 30K followers on Twitter and reported a favorable review of the new CD, which was released last month on the newly formed Ansonica Records. You may read the review HERE.


The Canadian journal Voir, which has a following of 85,000, has also published a short, positive review. You can read that review HERE - if you can read French that is!


World Music Central had this to say about Abrazo: “ABRAZO: THE HAVANA SESSIONS demonstrates the extraordinary musical talent found in Cuba, spanning a wide range of musical styles.” Continue Reading


And a four-star review from All About Jazz is HERE.


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Abrazo: The Havana Sessions IS OUT!!

June 10, 2016


The much anticipated and talked about debut release from Ansonica Records Abrazo: The Havana Sessions has finally been released. This historic collaboration between musicians of America and Cuba is being offered at an introductory price of $15.29 (regularly $16.99/ $19.99 through iTunes) direct from Naxos HERE.


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Meet the Composers from ABRAZO

June 8, 2016


This Friday we're releasing ABRAZO: THE HAVANA SESSIONS, the flagship release on our newest label, Ansonica Records. ABRAZO features two discs of new recordings we produced with our partners in Havana, Cuba during our first trip in early November 2015.


To celebrate this exciting and important release, we caught up with the composers Bunny Beck, Roger Bourland, Don Bowyer, John A. Carollo, Mel Mobley, Michael F. Murray, Tim Miller, and Margaret Brandman to talk about their experiences recording in Havana. Continue Reading


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Friends,


PARMA is pleased to present Ansonica Records' debut release ABRAZO: THE HAVANA SESSIONS. The ground-breaking album was recorded in Havana Cuba in November 2015 and showcases works for big band, small jazz combo, choir, and chamber ensembles, performed by current or former members of the National Symphony Orchestra of Cuba, the Buena Vista Social Club, Irakere, and many more.


ABRAZO will be available beginning JUNE 10 from iTunes and Apple Music! Pre-order your digital copy now to instantly download the track "Hot Miami NIghts" by PARMA composer Timothy Lee Miller: CLICK HERE


The two-disc set features the music of composers Bunny Beck, Roger Bourland, Donald Bowyer, Margaret Brandman, John Carollo, Timothy Lee Miller, Mel Mobley, and Michael Murray. 


Go to the RECORDINGS tab to order your copy today!!


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A Cuban Embrace

May 17, 2016


A new release of a double CD from Parma Records’s new Ansonica Records  Works for big band, small jazz combo, choir, and chamber ensembles by composers Bunny Beck, Roger Bourland, Donald Bowyer, Margaret Brandman, John Carollo, Timothy Miller, Mel Mobley, and Michael Murray performed by members of the National Symphony Orchestra of Cuba, the Buena Vista Social Club, Irakere, Vocal Luna  and Schola Cantorum Coralina. Executive Producer: Bob Lord; recording session producers: Dayron Ortega, Juan Manuel Ceruto, Wilma Verrier Quiñones. Recorded November 9 -13, 2015 in Havana, Cuba at the Abdala 1 Studio, Dbega Studio and Bellas Artes Concert Hall. Continue Reading


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New Recording Project

April 15, 2016


Yay, it's tax day, which means I get my wife back. She's a tax accountant and works long, hard hours the entire first quartet of the year, but it ends today, and tonight we celebrate!


I just closed on a deal with Bill Stevens, fellow VCFA Alum and co-owner of Ovation Sound Studios in Winston-Salem, NC to record several of my small ensemble jazz charts in May. We will be recording five of my quintets and three of my octets over a two-day period. The band members are all top pros in the area, and many are faculty members at area music schools, including UNC-Greensboro. Playing on the date are Annalise Stalls - flute and alto sax, Dave Finucane - soprano and tenor saxes, Brandon Lee - trumpet, Evan Ringle - trombone, Chris Boerner - guitar, Thomas Linger - piano, Steve Haines - bass, also acting as music director for the project, and Daniel Faust - drums. Very much looking forward to working with these guys. I am creating a gofundme campaign to help with costs of producing the album. Any and all help is much appreciated. The campaign should be live in a couple of days.


UPDATE: I just added the recording of the premiere performance of Stopping by Woods on a Snowy Evening, performed by Emily Custer - soprano and Moriah Custer - piano. She has an exceptional voice, which was well suited for this piece. LISTEN


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New Works and Recordings

March 29, 2016


2016 has started with a bang as far as the writing is concerned. So far, I have added five new works to my catalog, as well as a transcription of one of those works. But the big news is the completion of a large orchestral work that I have been working on for the past three years, off and on, of course. The new works include Wild Turkey Suite for solo bassoon, In Flanders Fields for SATB a cappella chorus, an arrangement of my Theme to the Movie "Doubles" for jazz quintet, which was a film score I wrote back in 1990, Scherzando for Strings, and finally Nuances de lumière for string orchestra, of which I did a transcription for woodwind quintet that came out really nice. The orchestral work is Voices from Itsă’tĭ, which is a historical work about the great Cherokee warrior-chief A’gstă’ta, or Oconastata as most historians know him by. I'm looking forward to some great performance opportunities with each of these, as well as the other works which are under way. Continue Reading


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Dear Madame Register of Copyrights: Please Support Take Down-Stay Down

March 21, 2016

by Stephen Carlisle


Why can't everyone see that Section 512 of the Copyright Act, more popularly known as the "Take Down" provisions of the DMCA, is an abysmal failure? If take down worked, the number of notices should go down. Instead the number of takedown notices sent increases exponentially every year. This is an enormous waste of time and resources for everyone involved. ... What take down-stay down proposes is to end "whack-a-mole." This means that when a Section 512 takedown notice is filed, and is not the subject of a legitimate counter-notice, then it becomes the responsibility of the web site to prevent the same or largely the same file from being reposted to the same web site. Continue Reading


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Abrazo: The Havana Sessions

February 19, 2016


For nearly 60 years, cultural and economic exchange between the United States and Cuba has been hindered and hobbled as a result of the U.S. embargo on trade and travel.  Influence from each has seeped through to both sides, but only with the restoration of diplomatic connections between the two countries in December 2014 did it become possible for real cooperation to occur. Continue Reading


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The Real Cost of Making Music: Why Respect for Copyright Matters

January 28, 2016

By Stephen Carlisle


I spent 26 years in private practice as an entertainment attorney, and my clients were primarily in the music business. So come along and see how the music business actually works, how it's supposed to work, and how respect for copyright is the foundation on which it all rests. Continue Reading 


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The Sound

December 23, 2015

By Larry Clow


"When Bob Lord traveled to Cuba in November, he saw constant reminders of how much life has changed in the five decades since the U.S. first imposed its embargo on the country. Basic things, like regular running water, Internet access, and electricity were hard to come by. As Lord sat on the edge of a fort in Havana’s bay, a colleague pointed to the Malecón, the city’s seafront esplanade. The skyline was almost the same as it had been when the embargo began in 1960, though after 55 years, the buildings were falling apart. " (The Sound) Continue Reading


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I went to Cuba, I made music, it sounds terrific

December 15, 2015

By Bob Lord (CEO, PARMA Recordings LLC)


I arrived in Cuba late in the evening on Saturday, November 7, 2015 for recording sessions in Havana.The trip was the culmination of a massive amount of preparation and planning to match the right music by the right composers with the right musicians, something  we do here at PARMA each and every day of the year. But this was... different. Continue Reading