Form

As I mentioned, the form of this piece is mostly a gradual transition from a slow, introspective, dark theme to a more upbeat feel. If one were to compare it to other short works. I’d best describe it as “binary,” with an A and B section. In this case, sections aren’t firmly set — the A section includes thematic content which serves duty in section B, and a tonally expanded A section returns at the end, making the form closer to “rounded binary.” (You’ll find that form in much of my shorter works, including my Errant Waltz in the “PIanisms” suite.)

Tonality/Motives

As always, the piece is vaguely triadic, with lots of added tones in each total center — though the 3rd in the triad is often absent, open 5ths are definitely a consistent thing. As is often the case with my pieces, I’ve selected a consistent method of tonal center movement. Here, the main theme is written over parallel 5^ths moving down by half-steps, with thematic groupings of this movement in larger sections separated by minor 3rds. As an example, the opening of the piece begins in G, with a half-step-wise progression downward to E. There, the process begins again. Only when the progression arrives at B♭ do things “stop” — initially just for a slightly extended passage before beginning again in G, and then, when we get back to B♭, it enjoys a longer stay as an introduction to a “B” section, which stabilizes after one more half-step, at the key of A.

The sparce open-5th introduction in the brass provides a small variation (a half-step “pinching” of the 5th through a raising of the G to A♭, and a lowering of the D to D♭) — a small motivic idea that appears in accompanying figures throughout the piece.

The remainder of the motivic building blocks can all be found, in full and in fragments, in the full melodic statement by the solo cello early, after the brass’s introduction.

Instrumentation

The design of this ensemble was, for the most part, given to me, instrumentalists available for the work’s premiere by the University of Kentucky New Music Ensemble. For this year (2026), the Ensemble included an entire 5-part string section, but there was an extra cellist also available, so I decided a solo cello part would be fun. (I personally LOVE solo cello, so this was a great opportunity!) Some brass and woodwinds were also available, but I decided the open 5th sequences worked well for low brass (I use a trombone and F horn). A trumpet was added as a “foil” for the cello soloist, providing an idea for a section with playful interaction between the two instruments.

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