Dodecafecta

Description

Dodecafecta, for solo brass quintet and wind ensemble (2010)

Instrumentation: Solo Brass Quintet; Piccolo, 2 Flutes, 2 oboes (Ob. 2 doubling Eng. Horn), 3 B Clarinets, Bass Clarinet Bassoon 2 Alto Saxes, Tenor Sax, Bari. Sax, 3 Bb Trumpets, 3 Horns, 3 Trombones (2 Tenor, 1 Bass) Euphonium, Tuba, Timpani, 5 Percussion Harp, Contrabass
Percussion Instruments needed: Trgl., S.D., B.D., Xylo., Cymb. a2, Guiro, Sus Cymb., Vibes, Wood Block(s) Claves, Cabasa, Glock., Tamb., H.H. (stand alone) Ocean Drum, Drum Kit, Tam-Tam, Floor Tom, Chimes, Police whistle, Marimba, Sand Blocks, Cow Bell, 4 pitched toms, 2 Quarters (or small smooth rocks)

Special thanks to Jacob Cameron, of Spectrum Brass, who spearheaded the 14-member consortium in the commissioning of Dodecafecta. The consortium members include:
Baylor, Eastman, Grand Valley State University, Michigan State University, Northwestern University, University of Michigan, University of South Carolina, University of Wisconsin, Western Michigan University, Texas A&M University-Corpus Christi, Del Mar College, University of Alabama, Lawrence University, Towson University

The premiere took place on December 16, 2010, at the Midwest Clinic in Chicago, with Matthew George conducting the Grand Symphonic Winds.

Notes from the composer:

“Dodecafecta” is derived from combining “Dodeca” – the Greek prefix for 12 – and “Trifecta” – which is the fortuitous phenomenon of a good result coming in threes. At the outset of this project, Jacob Cameron, the leader of Spectrum Brass, envisioned a consortium of 12 collegiate schools coming together to commission a new concerto for brass quintet and wind ensemble from me. When the project became a reality, I was immediately struck with idea of writing a fanciful, almost circus-like piece, with non-stop energy throughout. That, in essence, is the first movement: 8 minutes of driving rhythms and colorful orchestration. The 2nd movement provides a break from the others: more serious in nature, with more lyrical solo passages and a chorale-like figure. The last movement returns to the mixed-meter, wild, and celebratory nature of the 1st movement, bringing Dodecafecta to its energetic close.

Ironically, after the piece was already entitled (at least in my head), two more schools were added. Since I didn’t know the Greek prefix for 14, I left the title alone.