After returning from the Aspen Composer’s Conference and releasing another episode of Music from Humans, I finally got back to my tape and orchestra piece, energized by the progress I had made in developing the chords for the Dawn of Hope section.
Orchestration and Melodic Development
I began by layering additional melodies into the orchestration, some of which were adjusted to fit the chord structure. Starting with the strings, I added more upward-moving lines and reprised the introductory “You Can Do Anything” melody in the alto sax.
Next, I shifted focus to a piano-forward version of the chords, supported by strings. The “Have Mercy Upon Us” melody reappears in the clarinet, while the woodwinds reintroduce the “What You Can Do” theme and eventually take over the chords from the piano.
As the brass gained prominence, I brought back a rhythm from the piece’s beginning, which I plan to use later as well. One of my favorite moments occurs here: the trombone glissandos downward just as Obama says the word “change.”
The strings return in full force, carrying the chords while the French horn reprises the “Grant Us Peace” melody. After a brief moment where the tape repeats the word “hope” and the timpani joins in, I introduce an ostinato with the Dies Irae theme, reminiscent of the bassline from the piece’s opening. The chords are now distributed among the woodwinds, brass, and strings. Triplets start to create a 3-against-2 pattern, similar to the beginning, setting up Reagan’s quote in the tape that’s about to be introduced. In the final bars of the “Dawn of Hope” section, the timpani plays alternating 5-1 and 1-5 hits, perfectly synchronized with the tape, where a different quote begins every two beats.
Building the Coda
Moving into the coda, I revisited a rhythmic theme introduced by the brass earlier. As some instruments hold an A, others start moving up chromatically with staggered entrances. The pace quickens, not by increasing the tempo but by shifting the rhythms from eighth notes to triplets, then to sixteenth notes, and finally to triplet sixteenths. This choice kept the beat consistent, making it easier to sync with the tape. The woodwinds play up a Mixolydian scale, moving up a half step each time they repeat while gradually accelerating. Using box notation the violins bow up and down a chord, glissandoing upward while going sul ponticello—a technique borrowed from Caroline Shaw’s Plan & Elevation (yes, score study helps).
The tension culminates as the lower instruments move down chromatically in eighth notes until a grand pause (G.P.). I’m thrilled with how this all came together on the first try, perfectly matching my original vision from months ago.
Completing the Tape
With the orchestral part of the coda complete, I turned my attention back to finishing the tape part. I had delayed this until the orchestral section was figured out, and it turned out to be a fortunate decision. New presidential quotes had become available, adding depth to the composition’s narrative arc. As before, a happy little accident occurred where I was storing a quote near the end of the piece for later use, but when I played it back to check my progress, it became a profound statement. I’m likely going to leave it in, though I’ll keep the details a surprise for now.
Next Steps
With the first draft nearly complete, I’m turning back to the 16 bars of transition that remain unfinished. There are still plenty of notes and revisions to address, and the tape part requires final mixing and mastering. The piece is very close to completion, just in time for its scheduled performance on November 2nd. After almost a year of work, it’s incredibly satisfying to see my ideas finally taking shape. Perhaps just one more month of refinement is all that’s needed.
Stay tuned for more updates as I finalize this composition!
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Tags: democracy, in progress