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."
Jazz Saxophonist Adam Claussen Wins 2017 William Goldstein Scholarship
"The BMI Foundation has announced that University of Miami composer and musician Adam Claussen is the winner of the 2017 William Goldstein Scholarship, a $5,000 award for young jazz artists.
The William Goldstein Scholarship was established in 2010 and is awarded biennially to a young composer studying at a U.S. music school, and recognizes outstanding achievement in jazz composition. The award salutes pioneering BMI composer, pianist, and educator William Goldstein. Goldstein has recorded for Motown and CBS Masterworks and is credited with over 40 albums and 50 scores for film and television, including Fame and The Miracle Worker. His writing has been featured in The New York Times and The Los Angeles Times.
"I am surprised and truly honored to be selected for this scholarship,” said Claussen. “I see this opportunity as a commission to pursue composition as a career and to continue writing for the rest of my life. I would like to extend my sincerest thanks to the BMI Foundation and the University of Miami jazz faculty for choosing me for this scholarship. I also want to thank Stephen Guerra, Michael Annicchiarico and Gary Lindsay for guiding me over the years as a composer. I wouldn't be where I am today without them.”
Downbeat's 40th Annual Student Award Winners
"Frost students recieved eight DownBeat Student Awards this year, reflecting the excellence of the Department of Studio Music and Jazz. An Undergraduate College Award in the Original Composition-Small Enesemble category went to Adam Claussen for "All Bets Are Off".