Ryoto is currently a homeschooled 17-year-old. His main instrument is violin and has been studying it for 10 years.

This is his sixth year in YCP and his third year as an advanced student.

In August 2024, his first symphony composed for YCP, Accordionist’s Fantasy, won first place in the inaugural László and Fran Veres Young Composers Competition held by the Foothills Philharmonic in Tucson.

Ryoto’s piece this year is his Third Symphony, 2061. The inspiration came from a vision he had of the future in the year 2061. Ryoto describes, “I saw the world recreated anew, with lush pastures and other greenery. Amidst it stood a kingdom, which its gates and walls were built out of many kinds of precious stones such as gold, silver, ruby, sapphire, and pearl, where no impurities could enter it. It was more beautiful than anything I have ever seen in the past and the present. Inside the kingdom inhabited the righteous, and it was the most peaceful city ever.”

Comfort Ching’anda is a 9th grader at University High School and a cellist of four years, currently studying with Isabel Burgos-DeStephanis. This is his second year participating in the Young Composers Project and his first time writing an orchestral piece. Over the years, he has performed in several honors ensembles across Arizona and New Mexico, earning first stand in both the APS 7th Grade Honors Orchestra and the TUSD 8th Grade Honors Orchestra. He currently serves as principal cellist of RUHS’s Concert Strings orchestra. Aside from music, Comfort enjoys rock climbing, photography, and building computers.

During the conceptualization of Imperatives, I had many ideas rush to mind, but there were a few key ideas I had to include. These include a swift, light opening theme, a slower section with a harp solo and extended harmonies, and a swirling harmonic texture in the cellos. This culminates in a development section where previous themes appear in new environments, ending with the slow theme in a bossa-like style.

Hey, my name is Malcolm. And I really like to play video games. I also really like music! I’ve been in the TSO YCP for about 3 years now, and each time as made me a better composer. I go to the Flowing Wells High School and am in 9th grade. I hope one day I can become a professional doctor (because I’m really interested in science and dentistry. Also they get good pay.)

I didn’t really have an inspiration for A Knight’s Tale. I just wrote some stuff that I thought was interesting and turned into a piece. I later felt like my piece sounded like the background track for a sort of “hero’s arc.” (hence the title). The last part of my piece was actually a copy from another piece of mine called “Horn Ideas.” Anyways the basic idea is this castle is attacked by a dragon, the knight has been selected to go fight the dragon, goes on a few-day journey, fights the dragon, and returns home and is rewarded. Typical “knight” story, but a fun piece none the less.

My name is Liam, I am a sophomore at Andrada Polytechnic High School, I am in the vet pathway. I played the saxophone for all of my middle school career, however, I had to quit due to my high school not having a band or orchestra option. I’ve currently been playing the violin for nearly two years (I played the viola before this for two years). I have been playing with a youth group called Southern Arizona Youth Symphony for nearly three years. This is my third year in the Young Composers Project.

I’ve always been interested in songs that tell stories, so I decided to write my own, called The Rise and Fall of the Dark Emperor. It is about the emperor of a small town called Nightville who starts as a poor man but rises to power. Nightville is known as a dark and gloomy town which is why he’s a dark emperor, however, while he is in power, the town becomes light for the first time. However, the emperor gets a terminal illness and passes away which leads to the town to fall back into gloominess. At the end, the melody at the beginning repeats itself, which symbolizes the never-ending cycle.

I am 13 years old and in seventh grade. This is my third year in YCP, though my first in the Advanced class. I play several instruments; cello, bassoon, alto sax, tenor sax, baritone sax, and piano, and I am always looking for opportunities to play more. Most of my hobbies are centered around music and I would love to continue composing in the future.

I did not have much specific inspiration for my Symphony in C Minor, though I did reflect on the styles of my previous final compositions for YCP. While I did not have this in mind during my writing process, my composition always makes me think of undulating waves – sometimes calm, tranquil, and rhythmic, other times soaring, violent, and mysterious.

Karim Trammel is a graduating 8th grader at Alice Vail Middle School, and is headed to University High School next year. He joined the Tucson Young Composer Program by the recommendation of his piano teacher, Allison Ewald. He’s played the piano for 7 years, as well as the French horn for 3 and the trumpet for 1.

For this piece, Night Walk, Karim planned to create a story for our main character [the clarinet] strolling throughout the night. In this “story,” we begin with a calm and legato, yet peculiar and dissonant start, conveying a feeling of uneasiness and dread. We then quickly transition into a loud, and alarming new melody, imparting the feeling of a chase into the listener(s). Finally, we end with a free and proud finish, simulating the sunrise and the relief one must feel at the end of an adventure.

I am a sophomore at Rincon/University High School. I have played piano for almost 12 years, saxophone for 5 years, trombone, bass trombone, and percussion for almost 2 years, and this is my 5th year in the Young Composers Project. I am a member of the Tucson Jazz Institute Ellington Big Band, and my local band Tucson Tarana. Recently, I had the excitement of winning 3rd place with my school’s indoor percussion ensemble at the WGAZ State Championships, as well as being selected through audition for the ABODA All-State Band and Orchestra Festival on trombone. I am also a leader in my school’s many ensembles, with my primary roles being the Band Room Manager for almost 300 people, and the Trombone Section Leader for two of our school’s three jazz bands.

Wood Glue, Children’s Glue, and Hot Glue was heavily influenced by the style of drum and bugle corps music. My piece starts with a marimba solo based on quartal harmony, and this represents the wood glue, since a marimba uses wood for its keys. Then, it moves into a textural passage with ship, wave, and ocean motifs that are meant to represent the wetness of Children’s glue, and the learning and building we do with it at school. It then goes through a cluster chord section which mimics a drum corps brass warmup, and a chorale without the high parts. These sections were originally part of my harp piece, and brass quintet respectively. As a bass trombone player, I felt the need and greed to add a bass trombone solo to the work, which starkly contrasts the beautiful chorale that follows. After another short trombone feature of their infamous glissando abilities, we go into a fast-paced drum corps style closer. This is my favorite section of the piece because it really builds the energy, and it goes through a lot of interesting key changes and memorable motifs. This last section represents the hot glue since the tempo is hot, and the runs are almost on fire, while it still stays intact between the sections showing the strength of hot glue.

Oliver Ward is a 17-year-old senior at The Gregory School. He studies trumpet with Betsy Bright-Morgan of the Tucson Symphony Orchestra (TSO) and has been a member of the Tucson Philharmonia Youth Orchestra for five years, serving as principal trumpet for the past four.

Oliver is also a committed composer. He has been a participant in the Tucson Symphony Orchestra’s Young Composers Project (YCP) for five years. Through YCP, Oliver has composed several works for Brass Quintet, Wind Quintet, and for full orchestra. He has had pieces premiered by TSO, most notably during TSO’s 2024 Primo Gala.

This fall, Oliver will attend UCLA, where he plans to study composition.

In Catharsis and Relapse, Oliver wanted to push his own musical limits, combining elements of rhythmic vitality, lyrical expression, and various musical timbres. Oliver was heavily inspired by composers such as Bernstein, Shostakovich, and Copland. Oliver hopes that his music can excite his audience and create a moment of shared musical joy.

Leo is an 8th grader at Alice Vail Middle School. He plays a variety of instruments including clarinet, saxophone, and percussion. Leo is closely involved with his schools band program, performing with every ensemble except beginning band, which includes Jazz band and Symphonic band. This is his 3rd year in the Young Composers Project.

I have always loved the music of fantastical cities. Whether its background music in a Star Wars movie or ambient music in a video game, I have always loved the musical colors that composers use when they write for cities. I tried to use many of those colors in my piece, Metropolis, including liberal use of the Lydian mode and harmonically rich chords. The piece is split into five sections: Morning, Daytime, Night, Nightmare, and Awakening.

Ryoto is currently a homeschooled 17-year-old. His main instrument is violin and has been studying it for 10 years.

This is his sixth year in YCP and his third year as an advanced student.

In August 2024, his first symphony composed for YCP, Accordionist’s Fantasy, won first place in the inaugural László and Fran Veres Young Composers Competition held by the Foothills Philharmonic in Tucson.

Ryoto’s piece this year is his Third Symphony, 2061. The inspiration came from a vision he had of the future in the year 2061. Ryoto describes, “I saw the world recreated anew, with lush pastures and other greenery. Amidst it stood a kingdom, which its gates and walls were built out of many kinds of precious stones such as gold, silver, ruby, sapphire, and pearl, where no impurities could enter it. It was more beautiful than anything I have ever seen in the past and the present. Inside the kingdom inhabited the righteous, and it was the most peaceful city ever.”

Comfort Ching’anda is a 9th grader at University High School and a cellist of four years, currently studying with Isabel Burgos-DeStephanis. This is his second year participating in the Young Composers Project and his first time writing an orchestral piece. Over the years, he has performed in several honors ensembles across Arizona and New Mexico, earning first stand in both the APS 7th Grade Honors Orchestra and the TUSD 8th Grade Honors Orchestra. He currently serves as principal cellist of RUHS’s Concert Strings orchestra. Aside from music, Comfort enjoys rock climbing, photography, and building computers.

During the conceptualization of Imperatives, I had many ideas rush to mind, but there were a few key ideas I had to include. These include a swift, light opening theme, a slower section with a harp solo and extended harmonies, and a swirling harmonic texture in the cellos. This culminates in a development section where previous themes appear in new environments, ending with the slow theme in a bossa-like style.

Hey, my name is Malcolm. And I really like to play video games. I also really like music! I’ve been in the TSO YCP for about 3 years now, and each time as made me a better composer. I go to the Flowing Wells High School and am in 9th grade. I hope one day I can become a professional doctor (because I’m really interested in science and dentistry. Also they get good pay.)

I didn’t really have an inspiration for A Knight’s Tale. I just wrote some stuff that I thought was interesting and turned into a piece. I later felt like my piece sounded like the background track for a sort of “hero’s arc.” (hence the title). The last part of my piece was actually a copy from another piece of mine called “Horn Ideas.” Anyways the basic idea is this castle is attacked by a dragon, the knight has been selected to go fight the dragon, goes on a few-day journey, fights the dragon, and returns home and is rewarded. Typical “knight” story, but a fun piece none the less.

My name is Liam, I am a sophomore at Andrada Polytechnic High School, I am in the vet pathway. I played the saxophone for all of my middle school career, however, I had to quit due to my high school not having a band or orchestra option. I’ve currently been playing the violin for nearly two years (I played the viola before this for two years). I have been playing with a youth group called Southern Arizona Youth Symphony for nearly three years. This is my third year in the Young Composers Project.

I’ve always been interested in songs that tell stories, so I decided to write my own, called The Rise and Fall of the Dark Emperor. It is about the emperor of a small town called Nightville who starts as a poor man but rises to power. Nightville is known as a dark and gloomy town which is why he’s a dark emperor, however, while he is in power, the town becomes light for the first time. However, the emperor gets a terminal illness and passes away which leads to the town to fall back into gloominess. At the end, the melody at the beginning repeats itself, which symbolizes the never-ending cycle.

I am 13 years old and in seventh grade. This is my third year in YCP, though my first in the Advanced class. I play several instruments; cello, bassoon, alto sax, tenor sax, baritone sax, and piano, and I am always looking for opportunities to play more. Most of my hobbies are centered around music and I would love to continue composing in the future.

I did not have much specific inspiration for my Symphony in C Minor, though I did reflect on the styles of my previous final compositions for YCP. While I did not have this in mind during my writing process, my composition always makes me think of undulating waves – sometimes calm, tranquil, and rhythmic, other times soaring, violent, and mysterious.

Karim Trammel is a graduating 8th grader at Alice Vail Middle School, and is headed to University High School next year. He joined the Tucson Young Composer Program by the recommendation of his piano teacher, Allison Ewald. He’s played the piano for 7 years, as well as the French horn for 3 and the trumpet for 1.

For this piece, Night Walk, Karim planned to create a story for our main character [the clarinet] strolling throughout the night. In this “story,” we begin with a calm and legato, yet peculiar and dissonant start, conveying a feeling of uneasiness and dread. We then quickly transition into a loud, and alarming new melody, imparting the feeling of a chase into the listener(s). Finally, we end with a free and proud finish, simulating the sunrise and the relief one must feel at the end of an adventure.

I am a sophomore at Rincon/University High School. I have played piano for almost 12 years, saxophone for 5 years, trombone, bass trombone, and percussion for almost 2 years, and this is my 5th year in the Young Composers Project. I am a member of the Tucson Jazz Institute Ellington Big Band, and my local band Tucson Tarana. Recently, I had the excitement of winning 3rd place with my school’s indoor percussion ensemble at the WGAZ State Championships, as well as being selected through audition for the ABODA All-State Band and Orchestra Festival on trombone. I am also a leader in my school’s many ensembles, with my primary roles being the Band Room Manager for almost 300 people, and the Trombone Section Leader for two of our school’s three jazz bands.

Wood Glue, Children’s Glue, and Hot Glue was heavily influenced by the style of drum and bugle corps music. My piece starts with a marimba solo based on quartal harmony, and this represents the wood glue, since a marimba uses wood for its keys. Then, it moves into a textural passage with ship, wave, and ocean motifs that are meant to represent the wetness of Children’s glue, and the learning and building we do with it at school. It then goes through a cluster chord section which mimics a drum corps brass warmup, and a chorale without the high parts. These sections were originally part of my harp piece, and brass quintet respectively. As a bass trombone player, I felt the need and greed to add a bass trombone solo to the work, which starkly contrasts the beautiful chorale that follows. After another short trombone feature of their infamous glissando abilities, we go into a fast-paced drum corps style closer. This is my favorite section of the piece because it really builds the energy, and it goes through a lot of interesting key changes and memorable motifs. This last section represents the hot glue since the tempo is hot, and the runs are almost on fire, while it still stays intact between the sections showing the strength of hot glue.

Oliver Ward is a 17-year-old senior at The Gregory School. He studies trumpet with Betsy Bright-Morgan of the Tucson Symphony Orchestra (TSO) and has been a member of the Tucson Philharmonia Youth Orchestra for five years, serving as principal trumpet for the past four.

Oliver is also a committed composer. He has been a participant in the Tucson Symphony Orchestra’s Young Composers Project (YCP) for five years. Through YCP, Oliver has composed several works for Brass Quintet, Wind Quintet, and for full orchestra. He has had pieces premiered by TSO, most notably during TSO’s 2024 Primo Gala.

This fall, Oliver will attend UCLA, where he plans to study composition.

In Catharsis and Relapse, Oliver wanted to push his own musical limits, combining elements of rhythmic vitality, lyrical expression, and various musical timbres. Oliver was heavily inspired by composers such as Bernstein, Shostakovich, and Copland. Oliver hopes that his music can excite his audience and create a moment of shared musical joy.

Leo is an 8th grader at Alice Vail Middle School. He plays a variety of instruments including clarinet, saxophone, and percussion. Leo is closely involved with his schools band program, performing with every ensemble except beginning band, which includes Jazz band and Symphonic band. This is his 3rd year in the Young Composers Project.

I have always loved the music of fantastical cities. Whether its background music in a Star Wars movie or ambient music in a video game, I have always loved the musical colors that composers use when they write for cities. I tried to use many of those colors in my piece, Metropolis, including liberal use of the Lydian mode and harmonically rich chords. The piece is split into five sections: Morning, Daytime, Night, Nightmare, and Awakening.