For the audience, the beginning of the show is familiar territory. We sound like a drum core and it kind of turns into chaos.
What we call part 1 is like four and a half minutes. So the show, it’s the Boston tune, it’s the Steve Reich, the fourth movement of the four sections. And then that piece by Michael Lorelogo rose, the idea was basically really to go from that very consonant, the first thing is a, B, flat core, it’s very ordering. And then to end some place that’s as staticky and non pitched, it’s an energy and it’s a sizzle. It’s a, you know, what we’re left with white noise and the flags. The flag event at the end.
It was our chance to use the obvious musical devices. The end of the show is very dissonate, which suggests chaos. The Boston is, you know, 4 rock and roll. Yeah, you can dance to.
It during the percussion. Here we’re gonna do it like a walking of it kind of thing. But certainly here things kind of split a little bit like in a twos counterpoint within the battery, within the front ensemble writing. Yeah, a little more harmonic complexity to it than I think the original Boston has. Cuz we get into the rush, we hear a lot of seconds, like a little crushier kind of interval at the end. Ships that.
Slowly the harmony keeps getting denser and more extensions, so more notes in the court, which creates dissonance. By the time we get to the rows, there’s a lot of much neater stuff. So they’re stretched and it’s actually a cluster of five or six nodes over top of a descending baseline that augments and gets stretched, but it just keeps going down. So that’s just a fragment that we pulled from the Boston. And now we’re showing the distorted, chaotic version of that.
A big part of that, too, is what Matt has done with the sound design and how that colors the sound of the ensemble. We introduce more over time, more kind of staticky and kind of like rubs of sound like that create like noise in the sound, hopefully become somewhat overwhelming by the end of the chart and kind of leave us with the flag of it at the end.
That last moment is rather like the I want you, she’s so heavy, the beetles tune where it just keeps getting noazier and noazier and the noise finally takes off. And then it slices off into the next piece.