Can(n)ons: Between Now & Then

Each composition evokes different feelings and memories based on where and who I was when I wrote that particular piece. "Can(n)ons" was initiated in 2013, before I pursued my Master's degree; it was the second wind band piece I ever wrote, following the success of "Hashtag" in 2012. While the early version (very early) received a performance by the Kiski Area school band, and it ended up on the shelf for a decade. However, the ideas and inspiration behind "Can(n)ons" continued to resonate. I decided it was time to reconnect with this piece, engaging in a conversation with my younger self. Diving back into it would prove to be its own growth experience.

When I unearthed "Can(n)ons" after a decade of dormancy, I couldn't help but chuckle at what I had written ten years prior. My younger self seemed blissfully unaware of established best practices and even youthful defiance about "reinventing the wheel." I believed I could make things work simply through sheer determination, only to find myself arriving at the best practices recommended in the first place. I also used to work chronologically without a process, plan, or consideration of where the music was heading. It was all about the fun and immediacy of creation. However, revisiting the piece now, I found myself chuckling at my past musical choices and genuinely moved by the enthusiasm that fueled those ideas.

The challenge became clear in reassessing the motivic material, orchestrational practices, and grand ideas that once excited me. I wanted to bring a more thorough approach to orchestration, striking a balance between the youthful enthusiasm of my earlier self and the seasoned perspective I've gained over the years. As I delved into the composition process, I realized that some of the things I wrote back then, in my naïveté, wouldn't be the same today after going through the growth, study, trial, and error of my past (although this continues). However, that's precisely what this piece represents—a play on my personal evolution. Although the work only resembles what I wrote ten years ago at about 40%. I left one of the risky ideas in this iteration for my younger self.

The Dual Meaning of "Can(n)ons":

The title, "Can(n)ons," carries a play on words that underpins the piece's essence. In music, a "canon" refers to a contrapuntal technique involving imitative entrances, often taught through oral tradition across various cultures. For this composition, I chose the well-known canon melody of "Frère Jacques" as the foundation. The word "cannon" also conjures images of powerful devices launching projectiles with explosive force over great distances. Playing with these ideas became integral to shaping "Can(n)ons" and infusing it with layers of meaning and symbolism.

The Melody and its Significance:

Within "Can(n)ons," the melody holds immense personal significance for me. It's the song my wife, Bethany, lovingly sang to our children when they were young, accompanied by her heartfelt lyrics. This intimate and cherished melody captures the boundless enthusiasm and joy that my son, Gavan, has brought into our lives since he was born. It serves as a constant reminder of his unwavering drive and the overwhelming love he sparked within us. The sweetness of those memories continues to inspire me.

An Ongoing Fascination with Theatricality:

I've always been captivated by music's theatrical and sensory aspects, seeking to create an immersive experience for listeners. In "Can(n)ons," I offer an optional addition—an antiphonal bass drum and gong pairing, marked in the score. This allows for the sonic impression of cannons firing between the stage and over the audience, adding a touch of creativity and engagement to the performance. I encourage fellow musicians to embrace their creativity and share unique interpretations.

Creating Meaningful Music:

While I can't predict whether my music will ever find a place in the literature canon during my lifetime—or at all—I believe in the power of creating work that holds personal meaning. "Can(n)ons" stands as an experiment in my ability to live/work with my younger self to compose music. I can only hope that it is resonating with those who listen. This piece is a heartfelt dedication to my son, Gavan, who has brought immeasurable love and joy into our lives.

I can't help but see the duality of canon playing out in the generations before me. We all yearn to be independent and, at the same time, in alignment with our past. One imitative line is the counterpoint for this contrapuntal work in the story of our lives through generations. The perspective of that story changes with each passing iteration lending a new air. "Can(n)ons" represents a profound journey of growth, introspection, and finding more balance, learning, and development of myself over the course of a decade. As I continue to forge ahead, I desire to create meaningful music. To my son, Gavan: this piece is a testament to our love for you.

I want to thank the musicians who gave this piece a read in 20 minutes at the Pittsburgh Creators' Project Symphonic Winds 2023 Summer reading sessions.  

Can(n)ons is written for:

Piccolo

Flute 1, 2

Oboe 1,2

Bassoon 1,2

Clarinet in Eb

Clarinet in Bb 1, 2, 3

Bass Clarinet in Bb

Contrabass Clarinet

Alto Saxophone 1,2

Tenor Saxophone

Baritone Saxophone

Horn 1-4

Trumpet in Bb 1, 2, 3

Trombone 1, 2

Bass Trombone

Euphonium

Tuba

Percussion 1: Ride Cymbal, Tom, China Cymbal

Percussion 2: Hand Crash, Triangle, Bongos (w/ Sticks)

Percussion 3: Tubular Bells, Marimba, Glockenspiel

Percussion 4: Vibraphone, Suspended Cymbal

Percussion 5 (optional additional antiphonal set-up markings): Bass Drum, Tam-tam, Temple Blocks (4)

Percussion 6: Xylophone & Splash Cymbal

Timpani

Piano

Harp (optional by request)