The Brass Variations
This page is a list of fragments used in the building of this work. The first, being the theme of the whole composition, is used (in whole or in part) to generate all of the other fragments, which, in turn, are used to generate the specific variations in which they occur.
The Theme
Writing a theme needn’t be “rocket science,” depending on the overall approach the composer uses. In my case, I’ve written 4+ measures stated by the first trumpet as a solo….
It’s simple, and in G minor, as much as any of my melodies are in a “major” or “minor” key. The goal here is to provide a few melodic, harmonic, and rhythmic bits which I can use later. The entire theme exposition can be listened to by clicking below.
Go to the Full Thematic Statement.
Variation #1 — “The Song”
If you look very closely, this new melodic fragment is the first two measures of the theme above, only upside-down, and at exactly half-tempo (♪ = ♩).
“The Song” as a title is a bit of wishful thinking — it’s melodic, but not exactly a melody. The entire variation is available below.
Go to Variation #1: “The Song”
Variation #2 — “The Skip”
If you compare this fragment to the original theme above, you’ll find it’s the same — sorta. All rhythm has been stripped out, as well as a part of measure 3 and most of measure 4. I’ve also taken the fragment and crammed it into an odd meter (9/8, grouped 4, 2, 3). This figure serves as an accompaniment for a melody carried by the trombone initially. You’ll hear all that on the page with the full variation.
Go to Variation #2: “The Skip”
Variation #3 — “The Pause”
The fragment driving this variation is extremely short, and derived from a piece of the theme above (the tail end of the 2nd measure), altered a bit to fit the meter. In keeping with its name, it consists of slow, sustained chords broken up by dead air, in deliberate contrast to the quick and odd Variation #2, and the snappy Variation #4.
Go to Variation #3: “The Pause”
Variation #4 — “The March”
Besides sounding different (the instruments use mutes), this variation is the original theme, again upside-down and slightly modified, and has a march-like step.
Go to Variation #4: “The March”
Variation #5 — “The Chase”
This variation will serve two purposes: 1) to provide a fugue statement (fugue themes “chase” each other!), and 2) to provide a build to a return of the original theme, followed by a coda. The fragment below is in a fast tempo (molto allegro), but a sharp eye will note that, in fact, the beginning of this fragment matches the very beginning of the main theme.
Jeffrey L. Jones, Composer 