“Exit Strategy” is the final movement of three in a brass quintet written for my graduation recital at the University of Lethbridge.

After writing the initial sketches for this piece, my composition teacher, Dr. Arlan Schultz, introduced me to the third movement of Prokofiev’s Piano Sonata No. 7 of which I instantly recognized the connections between his piece and mine. Prokofiev’s piece, which relies heavily on the repetition of a single rhythmic motive, would form the structural foundation for the final movement of my first formal concert work.

“Exit Strategy” is characterized by sharp staccato accents and off-kilter rhythms, octatonic riffs interrupted by roaring glissandi. Of the three movements, it expresses the least harmonic consonance in a collection which decays further and further into harmonic collapse. In a sense, you could say the frenzied dissonance paired with the title are apt allusions of my panicked escape from finally completing a piece over one year in the making!(~panicked is a tad dramatic—I actually quite enjoyed writing this one!)

As with Prokofiev’s Piano Sonata, the structure of “Exit Strategy” is symmetrical. In fact, the symmetrical structuring is the first example of a piece I have written using a pre-prescribed form; in this case, modified rondo: intro ABA CD[AC] ABA outro. In contrast, The first two movements were born of singular melodic cells and developed in a fugue-like or generative manner with ill-defined endpoints. Overall, pre-defining the end of the third movement seems to have bolstered my will to finish in a more predictable and timely fashion than with the first two. 

As for the sections within the structure, the thematic and emotional moods were designed more or less to alternate. Atonal discourse amongst the five brass soloists is contrasted by bouts of leaping heroism and melodic reconciliation. The middle D section functions as the main timbral shift, featuring a scurrying baba yaga-esque bass-line as muted horns jeer and caw from above.

Thus concludes my year-plus-long stint of applied study in the realms of tonal counterpoint, parametric counterpoint, formal structure, atonal writing techniques, non-functional harmony, timbral orchestration, brass instruments, and so on. Perhaps the most important lesson has been learning to commit to finishing a project in its entirety, constructing a piece of longer duration without relying on repetition but rather employing developing variation.

The first movement required six long months.
The second movement merely four.
The third, took two.
The next one?

jonalex.io/scores

Other Influences:
Anthony Plog 3 Miniatures for Tuba and Wind Ensemble
"Secure. Contain. Protect." Mvt. 3 by James M David - Jeremy Wilson & David M Rodgers
György Ligeti: Six Bagatelles (1953)
Sergei Nakariakov - Jorg Widmann: ad absurdum - Concerto for Trumpet & Small Orchestra

Brass Quintet - III ("Exit Strategy") [score link in description]

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Brass Quintet - III ("Exit Strategy") [score link in description]

Jonathan Alexander (蔣智海)