Originally from Derry, New Hampshire, Adam is a graduate of the University of Miami Frost School of Music with a B.M. in Studio Music & Jazz. Adam has accumulated over a decade of experience in music, and has developed professional-grade skills in saxophone/flute/clarinet performance, teaching, composition, arranging, film and media music, orchestration, video editing, and much more.
At the Frost School of Music, Adam studied saxophone under Gary Keller. He has performed with many ensembles at Frost, including the Downbeat Award-winning Concert Jazz Band under the direction of Grammy-Winning musician John Daversa, the Frost Septet, and the Henry Mancini Institute Orchestra, as well as numerous other ensembles. In addition to his studies with Professor Keller, Adam studied composition with renowned composers Gary Lindsay, Martin Bejerano, and Stephen Guerra at the Frost School.
In the summer of 2018, Adam spent a semester abroad studying jazz composition and German language at Johannes Gutenberg Universität in Mainz, Germany. Under the tutelage of Jesse Milliner and Claudius Valk, Adam deepened his knowledge of music greatly and brought back a new experimental mindset to Miami.
Over the years, Adam has shared the stage with the likes of Quincy Jones, Adam Rogers, Maria Schneider, Arturo Sandoval, Dave Grusin, Dafnis Prieto, New York Voices, Tom Scott, and John Williams to name a few. In 2019 and 2017, Adam was named the recipient of Student Downbeat Awards for his original compositions "Minor Conniption" and “All Bets Are Off” respectively, as well as the winner of the 2017 BMI William Golstein Scholarship for outstanding work in the field of jazz composition.
In February 2019, Adam released his debut album as a bandleader, Arethusa Falls. The album showcases Adam's skills in improvised music and jazz composition, featuring six of his original compositions written in 2017- 2018. It is available for streaming and purchase from all digital music platforms, and physical CDs are available from Bull Moose.
Adam currently teaches music lessons in the southern NH area as well as at Music & Arts in Manchester. He also performs frequently with several groups in New England, using his remaining time to compose music for various ensembles and competitions.
Adam Claussen's resume: gallery/adam claussen resume 7-24-19.pdf
Adam Claussen Music via Facebook: SSBU Trailer Remix
Hey everyone! As some of you may know, I have been very interested lately in the world of film/game scoring, and I've had some time to work on a project I'm quite happy with. I re-scored Nintendo's silent trailer for Super Smash Bros Ultimate using only MIDI instruments in kind of a punk-rock racing game music style. I hope you enjoy it as much as I enjoyed making it!
Nintendo's viral 2018 game trailer (originally without music) offers fans and film composers alike an opportunity to create something new. So here's my iteration, inspired by the music of Foo Fighters, Farin Urlaub Racing Team, Styx, and music from other high-energy video games like F-Zero and Sonic.
Notice: the original trailer belongs to Nintendo Co., Ltd.
@claussenmusic via Instagram: NEW VIDEO
Minor Conniption earned a 2019 Student Downbeat Award in the undergraduate original composition (small ensemble) category. Thank you to the incredible musicians at Johannes Gutenberg Universität in Mainz and Jesse Milliner for your involvement in its creation, and thank you to Aaron Mutchler and the UM musicians below for recording the December version which won the award.
Full video: https://youtu.be/FgS_kBYQkjs
Adam Claussen- alto sax/comp/mix/video
Jason Charos- trumpet
Eli Feingold - trombone
Seth Crail- tenor sax
Clint Bleil- bari sax
Andre Bernier- piano
Robert Papacica- guitar
Marty Quinn- bass
Zander Ambrose- drums
Alan Hsiao- engineer
Bryan E. Kennard- assistant engineer
Evan Carlyle Rees, Juan Gómez- cameras
Visit https://adamclaussen.com/ for more music
#claussenmusic #jazz #nonet #frostschoolofmusic #miami
@claussenmusic via Instagram
This August I will be returning to New England to teach, perform, and compose as I prepare to apply for my masters in film music at the Conservatorium van Amsterdam and the Filmuniversität Babelsberg Konrad Wolf near Berlin in the fall of 2020.
New Hampshire/Maine/Boston area musicians and students! If you are in need of someone who can perform any style of music, double on flute and clarinet, sight read on the job, write arrangements for your ensemble, teach private lessons in saxophone/composition/music theory, transcribe, orchestrate, and digitally notate your music, edit your video footage, or just hang and have a session, then drop me a line!
Adam Claussen Music via Facebook: NEW VIDEOS
I've spent hours upon hours on this whole project, but it's finally done and I'd love to share it with you all. I just finished editing my re-score to a scene from How to Train Your Dragon 2 and produced two videos: a live brass recording session and the full score, which I will post momentarily!
Check out the full score here: https://youtu.be/qRaWkMmjzLo
Trumpets: Michael Dudley, Jesse Klirsfeld, Connor Towns
Trombones: Steven Eckert, Jessica Hawthorne, Wesley Thompson
Horns: Jackie Hernandez, Alex Witt, Caiti Beth McKinney
Tuba: Phil Beatty
Engineer: Chris Palowitch
Recorded at Weeks Recording Studio in Coral Gables, FL on 4/23/19
For more, visit:
©Adam Claussen 2019
Adam Claussen Music via Facebook: NEW VIDEO UP
This is a first for me! Before this project, I had never written for orchestra before, so this was a big step.
Video Game Music Demo: The Ice Level
Two Short Movements for Orchestra
Mvt. I- Arctic Tundra & Inside the Abandoned Castle
Mvt. II- Final Boss Battle
Written for an orchestration class at the Frost School of Music, this piece is intended to evoke a narrative particular to an RPG video game. The player enters a dark, ice-encrusted castle in a frigid northern wasteland, the promise of treasure and mystery within. The interior, while dilapidated and encased in ice, still boasts traces of old wealth and immaculate decor. Deeper within the castle, however, lies an ancient slumbering evil unbeknownst to the weary treasure hunter.
Read by the University of Miami Frost Symphony Orchestra in Gusman Concert Hall on April 15th, 2019.
@claussenmusic on Instagram
Now that I'm finally settled in and processing everything that has happened over the past couple months- my senior recital, several final projects and exams, numerous performances, graduation from UM, and driving back to NH- I would like to take a moment to update you all on what's going on. From now until early August, I will be staying in Poland with Ania (with a brief visit to the Conservatorium van Amsterdam in June), after which I will be returning to New Hampshire for about a year to work, teach, perform, and compose in preparation for grad school. If anyone around the Berlin/Warsaw/Prague area wants to play or hang this summer, drop me a line! And to my friends around New England, I look forward to seeing you again soon. 🎶
"JBN.S: – Which harmonies and harmonic patterns do you prefer now? You’re playing is very sensitive, deft, it’s smooth, and I’d say you drift more toward harmony than dissonance. There is some dissonance there, but you use it judiciously. Is that a conscious decision or again, is it just an output of what goes in?
AC: – Recently I’ve been very interested in jazz/folk fusion harmonies. You know, diatonic bass movement, I / III moving to the IV chord; it’s all over the title track “Arethusa Falls”. I’ve been trying to get more into playing melodies when I improvise rather than just playing “lines”. It’s very idiomatic for saxophonists to play fast notes over everything, and since I’ve already learned how to do that I’ve been working on trimming out the fat and just playing the notes I feel need to be there. I think I was able to get this approach to come across most effectively on the first track of the album, “What Can Anyone Do?”. The written melody comes across as dissonant when paired with the harmonies I wrote, but the melody notes by themselves make sense together; they were all very deliberately chosen. I tried to reflect that a bit in my solo by playing melodies rather than playing a bunch of random notes. Another factor that informs my playing is the context of the tune— in that same track, Andre took his solo on piano before mine. He chose to play very dissonantly over the A sections, and more consonantly over the bridge, so I did the opposite to add contrast to the tune.
JBN.S: – How do you prevent disparate influences from coloring what you’re doing?
AC: – I’m always listening to music from all different sources, so it’s inevitable that whatever I’m listening to will seep into my playing a bit. I don’t think it’s a bad thing to let disparate influences into my playing; in fact, I see it the opposite way. Some of the most interesting music comes from the combination of seemingly unrelated sources— jazz itself originated from European classical harmonies heard in southern churches paired with African rhythmic patterns. From its inception, jazz has always been a fusion of many different styles of playing, so I see no need to avoid that in my music.
Read the full interview here: http://jazzbluesnews.space/2019/05/20/adam-claussen/
"Undergraduate College winners are Logan Smith as Vocal Jazz Soloist, the Frost Funk Ensemble in the Blues/Pop/Rock Group category, Adam Claussen for Original Composition—Small Ensemble for “Minor Conniption” and Aaron Mutchler for Engineered Studio Recording."