Form

As is often the case with short compositions, the general form is best described 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. At this moment I have no firm idea as to how the end will come. A “rounded binary” would imply a return to the A section, at least in part. (You’ll find that form in much of my shorter works, including my “PIanisms” suite.) But the “program” I’ve pursued would imply that the B section would provide the ending as well. We’ll see how it plays out!

Tonality/Motives

As always, the piece is vaguely triadic, with lots of added tones in each triadic center. However, as is often the case with my pieces, I’ve selected a consistent method of tonal center movement: the main A theme is written over parallel 5ths moving down by half-steps in sections separated by minor 3rds. As an example, the opening of the piece begins in G major, with a half-step-wise progression downward to E major. There, the process begins again. Only when the progression arrives in B♭ do things “stop” — initially just for a somewhat extended spot before beginning again in G, then, for a longer stay as the tonal center for the B section.

The sparce open-5th introduction in the brass provides a small variation (a “pinching” of the 5th through a lowering of the higher pitch/raising of the lower pitch — both by half-steps), a small motivic idea that appears in accompanying figures elsewhere in 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 after the brass’s introduction.

Instrumentation

The design of this ensemble was, for the most part, given to me by those 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 part would serve. (I personally LOVE solo cello parts, so this was a serious 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 B section which provides for playful interaction between the two instruments.

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