This is my second piece. It is one of the three pieces I'll be using for my audition to Interlochen Arts Academy.
The file attached is a SCORCH file. You can get the SCORCH player free at Sibelius.com.
Anyways: This is a first, rough draft of the score. I repeat: THIS IS A ROUGH DRAFT. It is not done. I know the technicality of the piece may be incorrect in many places. However, the general theme behind the piece is there.
This concert band song is all about the number seven. The piece begins in Lochrian Mode, which is the seventh mode of all the modes. Specifically, the beginning is in F Lochrian, which, incidentally, is the seventh scale of the Lochrian Scales, if played by the Circle of Fourths. However, shortly into the piece, the song reverts to E-Flat Aeolian (E-Flat Natural Minor), which is F Lochrian's seventh note.
The first three pages are set in various time signatures (2/4, 3/4, 4/4, 5/4 and 6/4). This is what I consider the "introduction" of the song (despite the fact that this song is not terribly long). Let me explain it... The first measure has one significant beat, which is akin to one measure with one beat. The next measure has two significant beats, which is akin to two measures (of 2/4) with two beats. The next three measures are set in 3/4 and 4/4 but a total of 9 beats are played, which is akin to three measures with three beats each. The rest of the "introduction" has the same style; Developing each time signature (3/4, 4/4, 5/4 and 6/4) with the number of measures akin to the time signature.
I understand fully well that the above description of the introduction may very well be confusing, so I'll just move on. After all this development, you may have noticed that the time signatures have led up to the number seven. Now the piece really starts. The time signature moves to 7/8 and the piece picks up speed.
Constantly throughout the piece, I attempted to give the affect that the time signature was trying to move to the standard 4/4, but it never can.
The time signature moves to 9/8 for a brief measure. A short cadenza gives the appearance that things are slowing down before they've started. But after the cadenza, the 7/8 starts up again with a similar French Horn and Trumpet duet solo. The piece becomes subito piano and begins adding instruments and volume until a Trumpet breaks through with a solo. The piece moves to 8/8, with the given affect to be that the time signature is trying to get to 4/4 but the best it can do is an irregular 8/8. Finally the song moves to a slow (Quarter Note = 80) 7/4, yet another indication of seven in the piece. The song diverts to G-Flat Ionian (G-Flat Major) in 4/4 to play a lovely saxophone trio solo. The brass continue to the play the ever consistent "Long-Short" fall motif. However, the piece goes back to a two measure 8/8 with snare drum and, following that, again falls to a 7/8 where many of the minor melody tidbits here and there throughout the song come back to be played. The trombone instruments fall, the timpani glissandos up to it's highest note, the saxophones play a short "dot" attack, and the piece ends.
I'm currently working on editing parts here and there.
Here is the SCORCH link: Free file hosting by Savefile.com
