My Wind Quintet, "The Valley," was originally written for brass and as a prelude to my Brass Quintet. The following was the initial sketch.

   "Source" marks what I would consider my first deliberate attempt at applying formal structure to a composition during pre-production. The work was conceived in a fugato style, alternating between soft contrapuntal sections and grande chordal sections. My intention was to follow a traditional AABA structure using the B section as a complete tonal and timbral shift, however, I realized much to my dismay that the B section I was writing was becoming a different piece entirely! I have since split the sections into two pieces (see my Wind Quintet). "Source" is the reduction of nearly 9 minutes of material.

   Inspired by Seth Godin's book of the same title, Brass Quintet - "The Dip" is an exploration into chromatic counterpoint beginning in a fugato style before further developing into the textural capabilities of brass instruments and their extended techniques. Programmatically, the piece begins in a state of distraught emotion, singing dissonantly however growing steadily more optimistic and consonant before reaching the mid-section, where the emotional perspective shifts towards a bearish dip in morale. The titular dip is signalled by the downwards pitch-bending of all five brass instruments, submerging ever-further into dejection before settling into a textural sea-scape. There, the piece ruminates with trilling and tremolo textures in an ever-growing frenzy before reaching a point of solemn reconciliation, signalled by the interval of a major 7th—typically regarded as dissonant, though seemingly consonant given the context. From then on, brass multiphonics are introduced, locking into pure harmonics and planing steadily to create a vast landscape of rekindled awareness. The score eventually requires the players to sing portamento lines above the dictated fundamental of their instrument, creating beating effects between the resonance of their voice and lips. Supported by this multiphonic landscape, a moment of triumph once again begins to unfold via a rising consonance, however, it is yet again struck by the memory of the previous dip in morale. While the memory is surely never to fully fade, this time the dip is marked with greater acceptance of the karmic duality, and the piece pushes through to conclude with a restatement of one of the fugato subjects. The subject is accompanied by a sighing concession indicated by having air blown through the instruments, and thereafter dies into a somber morendo.

   Inspired by Seth Godin's book of the same title, "The Dip" is the first chamber piece I have fully notated while attending the University of Lethbridge. This piece marks my beginnings of getting familiar with brass instruments and also exploring their extended techniques (singing multiphonics, blowing air, etc.). “The Dip” also marks my stylistic exploration of horizontal writing by paying little attention to vertical harmony and focusing moreso on interval character. The piece was also an exploration in chromatic counterpoint, motivic development, and long-form structure. At seven minutes, the duration of this movement surpassed my previous works two-fold.

   “Exit Strategy” is characterized by sharp staccato accents, off-kilter rhythms, and octatonic riffs with roaring glissandi. Of the three movements in my “Brass Quintet”, it expresses the least harmonic consonance in a collection which decays further and further into harmonic collapse——you could say the frenzied dissonance paired with the title are apt allusions of my panicked escape from finally completing a piece over one year in the making! (description continued below the score)

   While writing “Exit Strategy” I became familiar with Prokofiev’s Piano Sonata No. 7 which relies heavily on the repetition of a single rhythmic motive. The idea of committing to a single rhythmic motive is ultimately what helped inform the structural foundation for “Exit Strategy.” As for the formal structure, and as with Prokofiev’s Piano Sonata, the structure of “Exit Strategy” is symmetrical. In fact, the symmetrical structuring here is the first example of a piece I have written using a pre-prescribed form from which I haven’t deviated; in this case, modified rondo: intro ABA CD[AC] ABA outro.
   Note, In contrast, The first two movements of my “Brass Quintet” were born of singular melodic cells and developed in a fugue-like or generative manner with ill-defined endpoints. Overall, pre-defining the end of the third movement seems to have bolstered my will to finish in a more predictable and timely fashion than with the first two.
   As for the sections within the structure of “Exit Strategy,” the thematic and emotional moods were designed more or less to alternate. Atonal discourse amongst the five brass soloists is contrasted by bouts of leaping heroism and melodic reconciliation. The middle D section functions as the main timbral shift, featuring a scurrying baba yaga-esque bass-line as muted horns jeer and caw from above.
   To conclude, “Exit Strategy” finalizes my year-plus-long stint of applied study in the realms of tonal counterpoint, parametric counterpoint, formal structure, atonal writing techniques, non-functional harmony, timbral orchestration, brass instruments, and on and on. Perhaps the most important lesson in completing my Brass Quintet has been learning to commit to finishing a project in its entirety, and constructing a long-form piece without relying on repetition but rather employing developing variation.

Influences:
  * Prokofiev - Piano Sonata No. 7
  * Anthony Plog - 3 Miniatures for Tuba and Wind Ensemble
  * James M. David - "Secure. Contain. Protect." Mvt. 3 - Jeremy Wilson & David M Rodgers
  * György Ligeti - Six Bagatelles (1953)
  * Jorg Widmann - Concerto for Trumpet & Small Orchestra, ad absurdum - Sergei Nakariakov