Ancel ‘Fitz’ Neeley (b. 2000) is a composer, percussionist, educator, and videographer from the Ann Arbor/Ypsilanti MI area who writes a variety of solo, chamber, electronic, and multimedia works. His music often takes inspiration from cinematography, screenwriting, and the dialogue between technology and natural elements. Fitz is a frequent collaborator as both composer and performer as has been apart of numerous projects such as Clara Warnaar's "A New Age for New Age Vol. 5", Abby Carpenter's album "Paint by Numbers", Lisa Bielawa's "Voter's Broadcast", Shodekeh Talifeiro’s “Vodalitites”, John Luther Adams’ Grammy Nominated recording of "Sila", and the premiere of Michael Gordon’s work for percussion ensemble “Field of Vision”. As a percussionist, Fitz performs with his percussion and multimedia duo VIRID, percussion trio Brain Pocket, and mixed sextet FLYDLPHN, all of which are geared towards the creation of new works by composers looking to explore new techniques in writing for percussion, chamber winds, and electronics. As a part of VIRID, Fitz is also a co-producer of the concert series VIRID and Friends through Oz’s Music Store in Ann Arbor. VIRID and Friends hosts 5-7 guests bi-annually for intimate showcases of contemporary classical and electronic music.
His works have been commissioned by ensembles and performers such as Tom Sherwood, Cameron Leach, the IGNIS Quintet, the Michigan Music Teachers Association, the University of Michigan Concert Band, and Full Gremlin Quartet. His work “Blossom” for snare drum and vocoder was included as a part of the 2022 Modern Snare Drum Competition. Current projects include works for else, if else new music, Ethan Strickland, Chris Sies, and Gamelan Madu Biru.
As a performer he leads commissions for solo percussion and electronic works frequently. Most recently by Sylvan Talavera, Harry Castle and Ari Sussman. His body of performance work is most prevalent through his videography and documentation on YouTube where he presents numerous performances and premieres of especially newer percussion pieces.
Fitz is currently earning a MMus in Composition at the University of MIchigan where he previously earned a BMus in Composition and Percussion Performance under the guidance of professors Doug Perkins, Ian Antonio, Tom Sherwood, Roshanne Etezady, Michael Daugherty, Kristin Kuster, Erik Santos, and Evan Chambers.
I love to tell stories. Through luck or fate I ended up stumbling into a room with a piano when I was 7 and whether I knew it at the time, I’d absolutely found the perfect storytelling device. I eventually would switch to percussion (I’ve always been a loud player so this is no surprise), but behind any instrument, I’ve always had a deep love of improvising for long periods of time, trying to create immersive sonic spaces and colors. Music is a very visual and communicative experience for me and I treat these aspects with importance when I compose. Not because I believe these are the most important aspects of music making, but because they are what I’ve grown to love the most about composing.
I spent a lot of time in high school obsessing over film, cinematography, and screenwriting; all of which have played a major role in my overall musical goals and aesthetic. Characterization is a fascinating part of film making that takes so much time and work to master. I often think about music making in terms of characterization because for me, it brings such a different level of joy and significance to know I’m pouring in my own human experience. Likewise, as a listener, I find immense excitement in getting to know another person’s story through their composition.
At its core, making music is our lucky chance to engage in a shared emotional experience between composer, performer, and listener. A chance to say “Hey, I felt something when I listened to this!” My heavy use of electronics, text, and texture are all a part of my goal to create these spaces and characters, and tell these stories.
