Michael Cudd

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Willie Mae White died on January 21, 2014.  She froze to death at a bus station in Joliet, Illinois.  She frequently stayed at that bus station, because she was homeless.  White's name was known.  However, The National Coalition for the Homeless estimates that 700 people like White die from exposure each year.  Sadly, many of these people's identities are unknown.  

Although we live in one of the most technologically developed countries in the world, we still have people freezing to death on our streets.  Perhaps more disturbing is the fact that this problem continues each year and is mostly ignored by the public.  It receives little or no media coverage, and our society as a whole chooses to look the other way.  

Homeless individuals have lives like anyone else.  They love.  They laugh.  They hurt.  They cry.  There has to be a remedy.  I wrote White in order to bring attention to an issue that deserves our focus.  It is dedicated to the victims of winter.

White

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Immerse yourself in the rich, evocative tones of "Saxophone Quartet No. 1" by Michael Seth Cudd. Expertly crafted for concert and contest settings, this piece challenges and showcases the dynamic capabilities of saxophone ensembles through its intricate harmonies and compelling, melodic interplay. A must-have for serious performers. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Saxophone Quartet No. 1

Saxophone Quartet-SATB Quartet

Pandora's Box  is a programmatic work depicting the story from Greek Mythology.  In this mythological story Pandora, the first woman on Earth, is given a jar (later mistranslated as "box") which she is told not to open.  The "box" is filled with what will become the evil of the world.  Eventually, curiosity entices her to do  what is forbidden,  and as soon as she removes the lid, its contents begin to escape.  She quickly closes the jar.  Unfortunately,  it is too late, and hope is all that is left within Pandora's "Box."

Pandora's Box

Multiple Percussion Ensemble

Paradigm Shift is a programatic work that depicts Plato's Allegory of the Cave where prisoners are chained in a way that only allows them to see shadows on a cave wall.  This is the reality that the group sees and understands to be "real," but the piece climaxes when one prisoner is released and dragged out of the cave where it is possible to see reality for what it is.  The realization that everything he has experienced was nothing more than shadows of the real world would be a paradigm shift, and it would be impossible to return to his previous understanding of life.  The music fades as the prisoner accepts his new reality and begins to investigate the world around him.

Paradigm Shift

Percussion Ensemble

Initiate Machine is a programmatic work that portrays a mechanical invention that creates music.  At the beginning we hear the machine start up, and the music grows and changes as various levers and buttons are used. Initiate Machine was written to accommodate a young percussion ensemble consisting of musicians at various skill levels, and it can be performed with 10 or more musicians.

Initiate Machine

A Soldier's Promise is a piece written for bass trombone and piano, and it depicts the thoughts and emotions a warrior might experience upon returning home.  The piece portrays the memories of war that will not be forgotten, the sadness of lost friends that are remembered, and the comfort of finally being home with family.

A Soldier's Promise

Bass Trombone Solo

William Robert "Roddy" Hull taught numerous students in his 35 years at Southwestern Oklahoma State University.  He instructed clarinet and saxophone during his tenure there.  He instilled in his students the desire to achieve perfection and taught them what it means to be a musician.  "Mr. Hull" had high expectations, and his guidance made sure his students met those expectations.  It was not easy to be one of his students, but ultimately, that is what made his instruction so invaluable.  I was fortunate enough to be one of Mr. Hull's saxophone students.  Of course, at the time I was too young to realize how fortunate I was.  When I began composing and decided to change my major he wanted to be my first composition instructor.  Once again, as a composition teacher he taught me the value of seeking perfection through the art of writing music.  He did not allow me to use a computer.  Everything needed to be hand written.  Creating scores and parts was a time consuming activity, but I learned a great deal by working with him.  There was a particular week when I had spent numerous hours completing a woodwind quintet, and as a result, I had neglected my saxophone practice.  I got to my lesson hoping he would not notice.  Of course, he did, and I never will forget what he said:  "I understand that you're a composer now, but that does not mean you get to stop being a musician."  He was right.  As I have grown older, I have also grown to appreciate those words.  There were times when his honesty cut deep.  However, Mr. Hull's honesty was perhaps his greatest quality, because there were also those times following a performance when he would walk up and grab you, look you straight in the eyes with a smile on his face, and say "Great job!  I'm so proud of you!"  

	The title of this piece is inspired by two quotes.  The first is 2 Corinthians 4:18 (KJV):  "While we look not at the things which are seen, but at the things which are not seen:  for the things which are seen are temporal; but the things which are not seen are eternal."  "Invisible, as Music, but Positive, as Sound" is a quote from Emily Dickinson's poem, "This World Is Not Conclusion."  These quotes did not shape the piece itself, but I feel that they combined to define a work written in memory of "Roddy" Hull.  There are multiple themes throughout the work.  One important theme is based on the Alma Mater of Southwestern Oklahoma State University, which is where 
Mr. Hull spent his career teaching.  The rest of the themes come from the woodwind quintet I composed while studying composition with him.  He also conducted the college's woodwind ensemble, so there is some emphasis on this ensemble within the work.  Mr. Hull's primary instruments were clarinet and saxophone, so the piece concludes with dialogue between those instruments.

What Is Eternally Unseen

Concert Band Score & Parts

Constriction is a rhythmically driven piece written to accommodate young percussion ensembles.  The name "constriction" comes from the fact that each rhythmic motif is squeezed into smaller and smaller units of time by use of meter changes.  Thus, each motif is "constricted" giving the music a sense of urgency.  It can be used to expose young students to meter changes, and it provides them an excellent opportunity to work on dynamic contrast.

Constriction

"Polyopia" by Michael Seth Cudd is a mesmerizing journey through a rich musical landscape, perfect for concert and contest settings. This piece challenges performers with its intricate harmonies and dynamic rhythms, offering a stimulating experience for both players and audiences alike. A must-have for any ensemble's repertoire. - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Polyopia

"Hangamatta" translates as "hammock" in German. I grew up spending my summers with my cousins at my grandparents' farm, and we have countless memories of helping our "Pop" around the farm, playing in the woods, eating "Mema's" home cooked meals, and relaxing around the house. However, one of our favorite pastimes was playing on "Pop's" hammock. It was hung between two perfectly placed trees, and we would swing the hammock back and forth and try to throw each other out. It was a splendid game offering hours of fun until we were caught by Mema or got hurt, and much of the music is meant to depict this activity. 

Of course, the hammock was best used for what it was intended, and it was not uncommon for one or more of us to be taking an afternoon nap in it. This is portrayed by the "free time" section in the middle of the piece. Although afternoon naps were an essential part of our summer on the farm, naps seldom went without interruption. Falling asleep in that hammock came at the risk of being thrown out by a cousin, and that is what happens following the dream-like "free time" section.

Hangamatta

The Unsustainable Concertino makes use of various nontraditional instruments that are often thrown in the garbage. It features the aluminum can and the milk jug.  The chamber ensemble consists of a tin can, a plastic bag, a trash bag, a glass bottle, a second milk jug, and a pizza box.

Aluminum cans bend and plastic bags tear, and they eventually become unusable.  Therefore, due to the nature of the instruments the music can only be sustained for a short period of time.  Therefore, the music is "unsustainable." While the piece itself is meant to be lighthearted and humorous, it is also intended to bring attention to the more serious issue of responsible recycling. The instruments used in this concertino can easily end up in a land fill. However, they are all recyclable.

The Unsustainable Concertino

Global Sections - CORE [DO NOT TOUCH]*

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