Polaris, subtitled Firefly Music
Premiered 2012, approximately 12 minutes in length
(music, choreography, and spoken word by Amber Gudaitis)
For solo instrument, vibraphone and temple blocks. (Originally premiered with trumpet, but the part is suitable for any instrument of similar range.) Optional preface of spoken word. An impressionistic work, portraying the experience of catching fireflies late on a summer evening. The musical nuance of Polaris allows the piece to be performed with dance or alone, as an autonomous musical composition.
This piece has been performed with several choreographic interpretations.
Premiered 2012, approximately 12 minutes in length
(music, choreography, and spoken word by Amber Gudaitis)
For solo instrument, vibraphone and temple blocks. (Originally premiered with trumpet, but the part is suitable for any instrument of similar range.) Optional preface of spoken word. An impressionistic work, portraying the experience of catching fireflies late on a summer evening. The musical nuance of Polaris allows the piece to be performed with dance or alone, as an autonomous musical composition.
This piece has been performed with several choreographic interpretations.
(Title photograph by Kym Kemp)
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Apparition
Commissioned by Dr. Robert Spring 2014 For B flat Clarinet, 2 Percussionists, and Single Dancer (optional) (Music and Choreography by Amber Gudaitis) Apparition is a portrayal of the eerie fog that rolls across a dark landscape late at night. The ethereal sounds of gongs and other exotic percussion rouse the image of mist while the clarinet uses ghostly lyricism to portray a mysterious spirit. As an optional addition to the music, choreography was written for a single dancer to share the stage with musicians, as the embodiment of the clarinet's ghostly song. Gudaitis designed the costume as the forefront of the choreography, allowing the visual focus of the piece to be on the fog-like silk, billowing around the dancer. The choreography is appropriate for a chamber music size stage. |
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(Click play button above to watch teaser excerpt)
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(Pronounced "Augmented")
Commissioned by Choreographer, Vanessa Freeman Premiered June 2015 with dance, approximately 10 minutes in length Prerecorded audio: Piano, Glockenspiel, Gong, Electronics Concert version for solo wind instrument and piano in progress *Advanced notice is required when ordering sheet music versions. |
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Coda
Written as a gift to Director of Bands, Donald Moultrop, in honor of his retirement from the Hale Middle School. Premiered 2015. Instrumentation: Flute, Oboe, B flat Clarinet, Alto Saxophone, Horn in F, B flat Trumpet, Trombone, Snare Drum (1 player), Suspended Cymbal (1 player), Piano *Adaptable for varying instruments and section sizes |
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10 Duets for Professional Trumpet Players
A collection of 10 pieces for two trumpets, containing new works and duet arrangements of previous Gudaitis compositions.
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Columbia River Narrative
Commissioned by the Portland Columbia Symphony Orchestra 2007
Approximately 7.5 minutes in length
Columbia River Narrative was written to present the vast array of sensations of a dark evening in the Pacific Northwest. The symphonic poem has been performed three times in Washington and Oregon, and has also been published in the Lux Undergraduate Creative Review.
Commissioned by the Portland Columbia Symphony Orchestra 2007
Approximately 7.5 minutes in length
Columbia River Narrative was written to present the vast array of sensations of a dark evening in the Pacific Northwest. The symphonic poem has been performed three times in Washington and Oregon, and has also been published in the Lux Undergraduate Creative Review.
Performed by the Portland Columbia Symphony Orchestra, under
direction of Huw Edwards
direction of Huw Edwards
Pictured: Fred Sautter in Coimbra, Portugal (Ancient Capital)
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Love Song
Commissioned by Fred Sautter Arrangements and Transpositions: For Voice and Piano: Full Score in C For Trumpet and Piano: Full Score in C Trumpet part in C Trumpet part in B flat For E flat Trumpet and Four Part Accompaniment: Full Score in C Trumpet in E flat Parts I, II, III and IV Parts with string markings: I, II, III and IV *Alternate arrangements and transpositions available upon request |
(Click photo to view film)
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Fire Incantations
Commissioned by TubaCOR 2013 For horn, tuba, & piano - optional choreography for single dancer (male or female) I Candlelight II Blue Fire III White Light IV Alchemist's Flame V Red Embers (Music and Choreography by Amber Gudaitis) Like a collection of spells welcoming some supernatural force, each movement of Fire Incantations was written to portray the character of a different color of flame. There is a subtle curiosity associated with Candlelight, a passionate vitality in Blue Fire, and White Light exposes a soft-spoken calm. Alchemist’s Flame depicts the intoxicating danger of a science embedded with magical undertones, performed in the dark with fiber optic lighting. After this intense display, Red Embers is intentionally subdued, allowing the piece to conclude in the warm colors associated with firelight. Fire Incantations maintains primary focus on the music, allowing the piece to be performed with or without choreography. When performed with dance, the stage lighting changes color with each movement, corresponding with each theme. Fire Incantations was developed to be appropriate for use on a chamber music size stage, performance area shared by musicians and dancers. |
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Cool Wind For A Cappella Choir 2015 (music and lyrics by Amber Gudaitis) Based on a poem by the same title, Cool Wind is a reflection on the serenity of night. Standard SATB voicing, no divisi. Ordering options for this piece are currently being updated. Please contact the composer directly for more information. |
Magnetic Energy
Commissioned by Emily May 2014
For Violin, Marimba, and Gong
Magnetic Energy was commissioned by choreographer, Emily May, as the musical element of a contemporary ballet piece, premiered in April 2014. The choreography is focused on raw physical energy and the attraction between forces of power. Climactic in nature, I came to see this piece as a juxtaposition of independent fluidity and robust unity.
The connectivity of the dance inspired music with a driving quality, portraying forces pulled toward one another by tension, sensuality and undeniable power.
Commissioned by Emily May 2014
For Violin, Marimba, and Gong
Magnetic Energy was commissioned by choreographer, Emily May, as the musical element of a contemporary ballet piece, premiered in April 2014. The choreography is focused on raw physical energy and the attraction between forces of power. Climactic in nature, I came to see this piece as a juxtaposition of independent fluidity and robust unity.
The connectivity of the dance inspired music with a driving quality, portraying forces pulled toward one another by tension, sensuality and undeniable power.
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Rehearsal footage, excerpt
(The choreographic piece is titled "this desolate flower".) Dancers: Vanessa Freeman, Cheyenne Spencer, Amber Gudaitis |
Burning Grounds
For string quartet Music premiered at the Phoenix Art Museum, April 2014 Burning Grounds was inspired by the Philip C. Curtis painting “High Chairs”, and was written in collaboration with choreographer Vanessa Freeman. Curtis’ painting portrays an isolated desert, in which several children’s high chairs are present. Some of these chairs are upright, and some are broken, fallen on the burning sand. The title is a reference to the feeling of isolation the composer and choreographer saw depicted in the painting. Curtis features no vibrant cactus blossoms, no dazzling colors of exotic desert flora. His landscape is an unending one, strewn with remnants of youth, innocence, and childhood. It is as if innocence itself was left to burn in the unforgiving sun. The piece is a depiction of waning memories, left outside to fade on the Burning Grounds. Meanwhile the choreography also emphasizes the interactive differences between children and adults, and depicts the competition and desire for personal gain, which, while relatively subtle in childhood, become pervasive in adulthood. |
Oddity for trumpet and dancer
2012
Specifically created as an animated power play between trumpet and dancer, Gudaitis wrote the music and choreography for Oddity simultaneously. The choreography is built on a theme of unconventional movement, pairing unusual and extreme positions of the body with equally deviant sounds on the trumpet. Juxtaposing a swing melody with modern notational techniques, the piece was written for a fellow musician as a collaborative project.
Video playback is currently being updated.
2012
Specifically created as an animated power play between trumpet and dancer, Gudaitis wrote the music and choreography for Oddity simultaneously. The choreography is built on a theme of unconventional movement, pairing unusual and extreme positions of the body with equally deviant sounds on the trumpet. Juxtaposing a swing melody with modern notational techniques, the piece was written for a fellow musician as a collaborative project.
Video playback is currently being updated.
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Audio Excerpt Performed by Thomas Barber (Trumpet)
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In order to protect original works, some sheet music is not available for web site viewing. Please contact Amber Gudaitis to learn more about this piece.
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Spring Crimson
For flute, clarinet, piano, and dance, approximately 8 minutes in length
Commissioned by Choreographer Michaela Church
Premiered 2010
This work was premiered as an outdoor garden concert, featuring six different imaginary characters, each represented by a different dancer. The work is intended to be welcoming to families, depicting a make-believe scene between creatures living in the garden.
For flute, clarinet, piano, and dance, approximately 8 minutes in length
Commissioned by Choreographer Michaela Church
Premiered 2010
This work was premiered as an outdoor garden concert, featuring six different imaginary characters, each represented by a different dancer. The work is intended to be welcoming to families, depicting a make-believe scene between creatures living in the garden.
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New England Willow
Duet for Woodwind Instruments, approximately 6 minutes in length An impressionistic piece, depicting the scene under a willow tree as summer sunlight passes between long tresses of delicate leaves. Inspired by memories of a willow tree from Gudaitis' childhood, the music was written with an ease of perception. Rolling ostinato and calm contrapuntal melodies create an exposed yet contented atmosphere. The piece was premiered by tenor saxophone and bassoon, but is available for any two woodwinds of similar range. |
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Dragon Scales
For Trombone Choir, Timpani and Electric Guitar While the trombone choir has the capacity for unmatched warmth and gentility, trombones also have more renown characteristics: authority, presence, and a capacity for beastly power. Their depth of sound feeds a magical impulse in performance, allowing the trombone choir access to a brute force and an unearthly boldness. Dragon Scales emphasizes on this sense of monstrosity, depicting those large fire-breathing creatures of flight, the very backbone of magic. Approximately 7.5 minutes in length Viewing and ordering options for this piece are currently being updated. Please check back later, or contact the composer for more information. |
In order to protect original works, some sheet music is not available for web site viewing. Please contact Amber Gudaitis to learn more about this piece.
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Away from you, dreaming
2013 Originally written as a jazz composition for trumpet and vibraphone, two versions of the piece are available: a jazz version and a through-composed classical version, for tenor trombone and vibraphone. Away from you, dreaming was written to have an introspective nature. The metallic colors of brass and vibraphone are presented with trancelike sonorities, creating a dreamlike atmosphere. Dissonances are sometimes resolved through traditional means and sometimes left hanging, settling only just as the ear stops in its search for resolution. Above all, Away from you, dreaming is about a sense of tranquility. It is the portrayal of memories that linger like a pleasant scent, and the daydreams of a love far away. |
Items for Juggling
For solo contrabass, approximately 3 minutes in length.
This solo was created with an animated humor and duality of character. Incorporating some extended techniques, the piece was written to display diverse musical characters. Items for Juggling emphasizes the contrabass' range of timbre, and alternates between a jovial waltz and a robust, hyperbole driven march. Aptly named, the piece "juggles" buoyant, light-hearted concepts with the technical prowess of the contrabass musician.
This solo was created with an animated humor and duality of character. Incorporating some extended techniques, the piece was written to display diverse musical characters. Items for Juggling emphasizes the contrabass' range of timbre, and alternates between a jovial waltz and a robust, hyperbole driven march. Aptly named, the piece "juggles" buoyant, light-hearted concepts with the technical prowess of the contrabass musician.
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In order to protect original works, some sheet music is not available for web site viewing. Please contact Amber Gudaitis to learn more about this piece.
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Disjointed
For Solo Tenor Trombone, approximately 3.5 minutes in length
A juxtaposition of soft fluidity and aggression, Disjointed displays two popular capabilities of the trombone. Fast transitions between characters allow opportunity for jarring fortissimo pedal tones, unconventional slide effects, and calm lyricism.
For Solo Tenor Trombone, approximately 3.5 minutes in length
A juxtaposition of soft fluidity and aggression, Disjointed displays two popular capabilities of the trombone. Fast transitions between characters allow opportunity for jarring fortissimo pedal tones, unconventional slide effects, and calm lyricism.
Nostalgias
For clarinet and piano, approximately 4 minutes in length
Named for its sentimental nature, Nostalgias opens with a restful quality. The clarinet's calming thematic material is paired with the florid and soloistic abilities of the piano. The melody transforms to present itself in a range of emotions, rising to elevation, agitation, and eventually trickling back into the more gentle feelings of nostalgia. Nostalgias was originally premiered with modern dance, but has since established itself as a composition of musical subtleties.
Named for its sentimental nature, Nostalgias opens with a restful quality. The clarinet's calming thematic material is paired with the florid and soloistic abilities of the piano. The melody transforms to present itself in a range of emotions, rising to elevation, agitation, and eventually trickling back into the more gentle feelings of nostalgia. Nostalgias was originally premiered with modern dance, but has since established itself as a composition of musical subtleties.
Lament
For unaccompanied classical guitar, approximately 2.5 minutes in length
Premiered by Dr. Ricardo Paz 2008
Written with lyrical counterpoint and a serenely traditional sense of melody, Lament was named more for its mood than as an addition to the lament genre. The piece is a reflection on introverted expression, highlighted with a calming melody, and created for the uniquely intimate sound of acoustic guitar.
Premiered by Dr. Ricardo Paz 2008
Written with lyrical counterpoint and a serenely traditional sense of melody, Lament was named more for its mood than as an addition to the lament genre. The piece is a reflection on introverted expression, highlighted with a calming melody, and created for the uniquely intimate sound of acoustic guitar.
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Performer: Ricardo Paz (classical guitar)
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In order to protect original works, some sheet music is not available for web site viewing. Please contact Amber Gudaitis to learn more about this piece.
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Music Box
For flute, clarinet, piano and dance, approximately 5 minutes in length
Commissioned by Choreographer Michaela Church
Premiered 2010
Commissioned specifically for modern dance, Music Box generates a spacious atmosphere. The piece was created with tonal thematic material and is embellished with dissonant colors, but as the title suggests, Music Box presents a childlike calm.
Commissioned by Choreographer Michaela Church
Premiered 2010
Commissioned specifically for modern dance, Music Box generates a spacious atmosphere. The piece was created with tonal thematic material and is embellished with dissonant colors, but as the title suggests, Music Box presents a childlike calm.
Song
For brass quintet, approximately 3.5 minutes in length
A single movement piece, emphasizing the warm colors of the brass quintet and the ensemble's ability to express lyrical melody. A reference to the composer's appreciation of the dolce colors that largely contribute to the brass family's artistic abilities.
A single movement piece, emphasizing the warm colors of the brass quintet and the ensemble's ability to express lyrical melody. A reference to the composer's appreciation of the dolce colors that largely contribute to the brass family's artistic abilities.
Afternoon Lull
For solo violin
Written for Gwendolyn 2009, approximately 2.5 minutes in length
A tranquil folk song-like piece, Afternoon Lull is a brief but soothing violin melody, written for a friend of the composer in honor of their birthday.
Written for Gwendolyn 2009, approximately 2.5 minutes in length
A tranquil folk song-like piece, Afternoon Lull is a brief but soothing violin melody, written for a friend of the composer in honor of their birthday.
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In order to protect original works, some sheet music is not available for web site viewing. Please contact Amber Gudaitis to learn more about this piece.
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