“Brass Quintet” was written for my graduation recital at the University of Lethbridge under the influence of Silicon Valley grindset culture. It is my first multi-movement work with three movements in total. Programmatically, “Source” (I) begins with the indulgent optimism of a startup founder hot on the heels of securing their first angel list seed, only to thereafter be mauled and torn down by a bearish dip in morale. Nevertheless, their time spent in what has been referred to as “The Dip” (II) sparks an unyielding thirst for self-improvement; thus, twelve self-help books later and armed with the koanic mantra 'real artists ship,' the founder ignores all pivots and finally begins sprinting in a straight line. Now equipped with a rejuvenated sense of purpose and drive——likely fuelled by mushroom-infused decaf——the founder transcends their reality distortion field, switching from zero to one, and rides the bull to a triumphant victory per their “Exit Strategy (III).”
audio external link"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.
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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.
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“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)
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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
