Name: Morse Code Pop (2003) - for alto & baritone saxophone by Rob Smith, composer
Duration: 5 min 42 s
Description: Morse Code Pop uses a syncopated theme that mimics the sound of a Morse code signal. The composer is not fluent in Morse code, however, and so any specific messages that may result from the motivic material are not intended... Many thanks to Valerie Vidal and Elizabeth Owsijuk for their musical talents, enthusiasm and dedication in preparing this work for its premiere.

Morse Code Pop uses a syncopated theme that mimics the sound of a Morse code signal. The composer is not fluent in Morse code, however, and so any specific messages that may result from the motivic material are not intended... Many thanks to Valerie Vidal and Elizabeth Owsijuk for their musical talents, enthusiasm and dedication in preparing this work for its premiere.

Morse Code Pop (2003) - for alto & baritone saxophone

Commissioned by Musiqa, Blaffer Museum and the Cynthia Woods Mitchel Center for the Arts and premiered at the University of Houston. Concept by Reynier Leyva Novo. Recorded by Jeff McDonald. 
Eiki Isomura, conductor
Xayvion Davidson, basson
Russel Haehl, trumpet
Maiko Sasaki, clarinet
Ryan Rongone, trombone
Jackson Guillen, violin
Samantha St. John, double bass
Craig Hauschildt, percussion

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I’ve often been told, “When writing for band, you can’t think like a guitarist”.  This was always a bit difficult for me, as I’m, well, a guitarist.  I struggled with finding the “right” way to think about band for years, and that always kept me at somewhat of a distance from the band world.  I felt like an outsider, which in many ways, I am.  You see, guitar is a very attack-based instrument.  When played, there’s a strong initial attack on the strings, followed by a rapid decay of the note.  And while wind and brass can certainly make strong attacks, they can also perform the opposite – near silent initial attacks with long, sustained tones.  I struggled with this idea of, “…you can’t think like a guitarist”, until I decided to just embrace my “attack-y” way of thinking, and make it work for band.  This piece wholly embraces my guitar way of thinking, and incorporates many influences from guitar based music – most notably, heavy metal.  It is my hope that you can think like a guitarist and make it work for this amazing ensemble.

Blackout Metal Mixtape for Concert Band

Premiered by Aura Contemporary Ensemble at the Moores Opera House on April 25, 2024.

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Hanna Hurwitz, violin
Hana Chu, piano

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For flute, clarinet, violin and cello.
Premiered at Blaffer Museum on February 14, 2024. 
This work was inspired by artist Chiffon Thomas’ “Coil”, one of the pieces on display in "Intimate Confession is a project," a group exhibition at the University of Houston Blaffer Art Museum that considered transmission, intergenerational life, and cultural inheritance through the prism of intimacy and infrastructure.

Spare Parts Spin

Premiered by Aura Contemporary ensemble at the Moores Opera House on April 25, 2024.

Aimes Cass, flute
Darius Gerard, clarinet
Ashton Carter, vibraphone
Shupeng Wang, piano
Raul Colmenero, violin
Bernini Chan, violin
Konrad Rudowicz, viola
Ashley Wang, cello
Gabriel Sweet, double bass
Agustina Kapoti, conductor

Call It Intuition

The innovative and highly energetic music of Rob Smith is frequently performed throughout the United States and abroad. He is an Associate Professor of Music Composition and director of the AURA Contemporary Ensemble at the University of Houston’s Moores School of Music.  Boosey & Hawkes, Carl Fischer, Southern Music, C-Alan Publications, and Skitter Music Publications publish his music.

Morse Code Pop (2003) - for alto & baritone saxophone

Rob Smith, composer

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