Last Sunday, part A got completed (as the second major part) for the digital mockup stage. I’d like to offer some explanations – but before I do, let’s hear the music!
The piece is set in Ab Lydian tonality, moving at a majestic 5/4 adagio. The main thing is synth brass – four different sounds of it. This gets further embellished by a Jupiter-8-style arpeggio synth (which only plays one-note arpeggios), a percussive synth bass and timpani as both percussion and bass voice. Add to that an electric guitar lead and some 12-string acoustic accompanying it, and we’re set. Did I mention synth brass?
Coming from part a, there’s a broken chord in the epiano on Ab lydian harmony, to which arpsynth and timpani fade in.
Part A itself opens with a simple, slowly-moving twelve-bar theme (let’s call it theme A) together with harmonization, sketched out below. It’s performed by some bright synthbrass, with timpani and arpsynth indicating the bass line.
There’s then a softer section of eight bars, before all synths together hit it for the closing of the main theme section for a kinda ABA’ structure.
Next is the electric guitar repeating theme A – albeit with a different harmonization provided by twelve-string and timpani for the bass voice. Next is a development of the theme (in the same instrumentation) for a middle part.
Here, although the part stays in 5/4 notation-wise, the guitars extend this quite a bit, moving in the range between 3/4 and 6/4 quite freely – and it’s up to the timpani to indicate both the downbeat of the 5/4 and the accents of the melodic work.
We then have theme B repeated in a rearranged fashion (I forgot to mention the mellotron flute here), before we have a nearly 1:1 repetition of the original theme A. Theme B and A’ then get rearranged, with the ending of A’ made to either lead into the first bar of this part again – or to continue into part b.
More info – like on the as of today completed part D – to follow.