Originario de Derry, New Hampshire, Adam es un ex alumno de la Frost School of Music de la University of Miami con un B.M. en Studio Music & Jazz. Adam ha acumulado más de una década de experiencia en música y ha desarrollado habilidades de grado profesional en interpretación de saxofón / flauta / clarín, enseñanza, composición, arreglos, música para cine y medios, orquestación, edición de video y mucho más.
En la Frost School of Music, Adam estudió el saxofón bajo Gary Keller. En la Escuela de Música Frost, Adam estudió saxofón con Gary Keller. Ha actuado con muchos conjuntos en Frost, entre ellos el Concert Jazz Band, ganador del Premio Downbeat, bajo la dirección del músico ganador de un Grammy, John Daversa, el Frost Septet y la orquesta del Henry Mancini Institute, así como muchos otros conjuntos. Además de sus estudios con el profesor Keller, Adam ha estudiado composición con los reconocidos compositores Gary Lindsay, Martin Bejerano y Stephen Guerra en la Escuela Frost.
En el verano de 2018, Adam pasó un semestre en el extranjero estudiando composición de jazz y lengua alemana en la Universität Johannes Gutenberg en Mainz, Alemania. Bajo la tutela de Jesse Milliner y Claudius Valk, Adam avanzó en gran medida su conocimiento de la música y trajo una nueva mentalidad experimental a Miami.
A lo largo de los años, Adam ha compartido el escenario con artistas como Quincy Jones, Adam Rogers, Maria Schneider, Arturo Sandoval, Dave Grusin, Dafnis Prieto, New York Voices, Tom Scott y John Williams, por nombrar algunos. En 2019 y 2017, Adam fue nombrado ganador de los Student Downbeat Awards por sus composiciones originales "Minor Conniption" y "All Bets Are Off" respectivamente, así como el ganador de la 2017 BMI William Golstein Scholarship por su trabajo sobresaliente en el campo de composición de jazz.
En febrero de 2019, Adam lanzó su álbum debut como líder de una banda, Arethusa Falls. El álbum muestra las habilidades de Adam en la música improvisada y la composición de jazz, ya que presenta seis de sus composiciones originales escritas en 2017-2018. Está disponible para transmisión y compra desde todas las plataformas de música digital.
Adam actualmente enseña lecciones de música en el área sur de NH, así como en Music & Arts en Manchester. También se presenta con frecuencia con varios grupos en New England, utilizando el tiempo restante para componer música para diversos conjuntos y concursos.
El currículum de Adam
New Video Up: "Something's Out There"
Happy HalloweeEEEeeen everyone! 👻 In the ~spirit~ of the holiday, I've written a creepy tune for your Halloween playlists! Take a listen, if you dare.... 🎃☠️
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. 🎶
Interview with Adam Claussen: "I have to have all the intellectual work done ahead of time"
"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/
Downbeat’s 42nd Annual Student Award Winners
"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."