This piece begins with a lilting eighth-note motif in the Phrygian mode. Originally, this piece was to be a duo between the oboe and bassoon, but because of the continuous nature of the aforementioned motif, it became obvious that the bassoonist would need to breathe; hence, the double bass was added. A punchy and rhythmic bassoon solo contrasts the continuous eighth notes, and the two together take our listeners on a journey that makes up the A section. In the B section, the character of the piece shifts, and with this character shift comes texture shifts. The double bass switches from pizzicato to bowing, and the oboe now takes the lead with a mysterious melody. Phrases are punctuated with the use of a triple stop in the double bass, adding a gloriously dark colour to the piece which is further enhanced by a minor ninth appoggiatura played by the bassoon. This trio is written in a rounded binary form (classic!). However, the return of the A section does not mean the repetition of the material in the original Phrygian mode, but rather the Locrian mode. This choice was made completely in response to an internet meme that claims that “no one likes Locrian and so no one writes in it.” I took this as a challenge and lowered the fifth scale degree for the A’ section of this rounded binary. The result is a refreshing return of familiar material with a slight difference that is odd yet welcome.
Instrumentation: oboe, bassoon, and double bass Duration: 5'
Premiered May 2019 at Convocation Hall, Saskatoon, SK by the Saskatoon Symphony Chamber Players at the SSO Sunday Chamber Series. On the recording: Oboe - Erin Brophey; Bassoon - Stephanie Unverreight; Double Bass - Richard Carnegie