Download - The Final Hour-article - Stuart Greenbaum Final...Reich, The Cave (1993) and Pat Metheny and Lyle Mays, The Way Up (2005). They are also points of reference that may not exactly be

Greenbaum:TheFinalHour,pg.1

TheFinalHourArticlebythecomposerJuly2019ThecomposerHavingstudiedcompositionwithBroadstockandConynghamattheUniversityofMelbourne,StuartGreenbaumholdsapositionattheMelbourneConservatoriumofMusicasProfessorandHeadofComposition.Heistheauthorofover200worksincluding15sonatas,7stringquartets,5pianotrios,5concertos,4symphoniesand2operas.WordsandmusicStuartGreenbaumandRossBaglinhavebeenworkingtogethersince1985whentheymetinDoncaster,Melbourne.Itwasnightandrainingheavily.StuartauditionedtojoinRoss’sband,TheFront.Theyneverperformedlive,butwrotealotofpopsongs.Andtwooperas(NelsonandTheParrotFactory),adozenchoralworksandnumerousartsongs.TheirmajorchoralworksincludeTheFoundling,commissionedbyCantoriNewYorkin1997andFromtheBeginningcommissionedforthesesquicentenaryoftheRoyalMelbournePhilharmonicin2003.

ConceptAlbumsIhavealwaysbeendrawntotheideaofconceptalbums.FourthathavebeennotablyinfluentialformearePinkFloyd’sDarkSideoftheMoon(1973),MikeOldfield’sTubularBells(1973),Jean-MichelJarre’sOxygene(1976)andPatMethenyGroup’sTheWayUp(2005).Theoverlappingtracksandunifyingthemesintensifythecumulativeexperience.FormanyyearsIhadthisideaofmakinga‘conceptalbum’.It’shardtousetheterm‘album’withoutalsothinking‘vinyl’.Butitwasn’t33revolutionsper–minutethatthatwasplayingonmymind.Andneithernecessarilywastheterm‘concept’–shouldn’tthatbeagivenforanyworkofart?Rightlyornot,theconceptalbumisarelativelyspecificgenre.Alignedwithprogressiverock,conceptalbumstendtofeatureextendedduration,areoftenlargelyinstrumentalandfeatureoverlappingtracks(orsegues),frequentlychangingorunusualtimesignaturesandextendedharmonies;alltiedtogetherbyaunifyingtheme.ItaughtPinkFloyd’sDarkSideoftheMoon(1973)forover20yearsina2ndyearundergraduatesubject(Electro-AcousticMusic)andenjoyedalltheconversationswithstudentsaboutwhatiswonderfuland/orflawedaboutit.IthinkwhatIlovemostaboutitistheintention.Thatpop/rockmightbemorethananincidentalplaylist.Thatitmightaspiretogranderstructuraldesign.Forthesamereason,I’malsoveryengagedbyMikeOldfield’sTubularBells(sameyear,1973).Granted,someofthatalbumisarguablydated(strangevoices,outoftunetimpani,asecond–halfthatrunsoutofideas).ButcertainsectionsarehighlymemorableandOldfield’saspirationtowardssomethingsymphonicstillseemsaworthyquest.The70’s,ingeneral,wasafertiledecadeforfurtherexplorationofTheBeatles’Sgt.PeppersLonelyHeartsClubBand(1967)andbeyond.Beforereturningtomyownmusic,IwouldalsociteMilesDavisandPelleMikkelborg,Aura(1985),SteveReich,TheCave(1993)andPatMethenyandLyleMays,TheWayUp(2005).Theyarealsopointsofreferencethatmaynotexactlybeconceptalbumsinthe1970’sprog-rocksense,butwhichhavebeeninfluentialindeterminingwhatIwantedmyowntobe.Perhapsmostofall,thealbumsofPinkFloydfromtheearly70’sonwardwaswhatseemedmoststriking.Andinparticular,thebroodinginstrumental


interludesinminorkeyswithlow-registerminor3rds,ostinatopatternsandeeriesounddesign–suchasSheep,fromAnimals(1997).Thishadallbeenbrewingforsometimeinmyaestheticsense.Forovertwodecadesmymusichasbeenafusionofpop,rock,jazzandminimalismwiththecanonofWesternclassicmusic.Butthishasmostlybeenpresentedinconcert–ascommissionedbysoloists,ensemblesandorchestras.It’sindicativeofthecontemporaryclassicalmusicindustrythatcomposersaregenerallycommissionedtowriteworksforperformance(whichmayormaynotbesubsequentlyrecorded).GenesisWhentheopportunitycameaboutinthesecondhalfof2013totakestudyleavesolelytowritenewmusic,itseemedagoldenopportunitytothrowmyselfheadlongintothelandoftheconceptalbum.InMay2012,Iaskedmylongstandingcollaborator,RossBaglin,towriteapoem(around500words)calledTheFinalHour.Andalsoaskedthatthepoemconcludedwiththosethreewords.Thisprocess(fromJanuary2013)tookaround8monthsandwentthrough24draftsuntilwearrivedatthetextIwantedandRosswashappywith.Behindthe24draftsliemanymoreemails,phonecalls,Skypesessionsandtheoccasionallyluxuryofworkinginthesameroom(RossisAustralianbutlivesinLondon).Iwantedtocreateacommentaryabouttheperceptionofthepassingoftimeinourmodernnew-millenniallives.Ofhowwevalueit.Anhouroftime(notjustthefinalhour)andbyextension,thedurationofalife.IusedthetextRosscreatedasastructureforaninstrumentalstudioorchestrawithelectronicsandnarrationofthetext.Combiningthewesternclassicaltraditionwithjazz,pop,electronica,sonicartsandminimalism,TheFinalHouris60minuteslong(tothenanosecond)in10overlappingsectionsinanarchformproportionedaroundtheFibonacciseries.Thereisa2–secondgapbetweenthetwohalf–hourpartsasanodtowardsflippingavinylrecordovertotheB–side.Iwrotetheshortscoreonstudyleaveinthesecondhalfof2013andorchestratedthoselinesthatcouldberepresentedinnotation(1,495bars).Havingmadeitthisfar,theideaofrealizingitinsoundseemedabridgetoofarandIpromptlyputitasidefor2years.Butearlyin2016IcaughtupwithMelbournepianistandcomposerLukeHowardoverlunchandafterwardsshowedhimthescore.ItoccurredtomethatLukewouldbetheidealpersontopushtherecordingprojectforward(notonlyasamusicianbutasaproducer).Andhewasinterestedandavailablesoworkre-commenced,includingLuke’ssuggestiontoaddarhythmsection(keys,bassanddrumkit),orchestratingthestringsection,producinginstrumentalparts,settingupMIDIandaudiotechnologyanddevelopingastrategyforrecording.Thisinvolvedrenderingsynthlinesandrecordingeachindividualmusiciantrack–by–track,layer–by–layer.Thiscontinuedoninto2017.And2018.By5December2018,theworkwasmastered.StructuralarchitectureThetwohalf–hourpartstotheworkfurtherdivideintotensections:


section title duration(minutes)

1 prelude 1’2 pulseandpresence 3’3 memoryjar 5’4 speedingcarandbrokensignal 8’5 fateiswherelostchancesgo 13’ 6 citytowers 13’7 thistleseed 8’8 stationarytrains 5’9 theatmosphere 3’10 coda 1’

Thiscanbeshownproportionallyasagraph:1’

3’ 5’

8’ 13’

13’ 8’

5’ 3’

1’

TheexpandingsectionsrelatetotheFibonacciseriesquiteclosely,withonesmallalteration.AFibonacciseriestechnicallyshowsthesumoftheprevioustwonumbersasfollows:1,1,2,3,5,8,13etc.Thatwouldbefine,butaddsupto33andIwasseekingaseriesthatwouldaddupto30(halfanhourwhichcouldbedoubledtomakeanexacthour).SoIwentstraightfrom1to3andthenfollowedthesequence,making:1,3,5,8,13(=30)Thisisthenreversed(archform)tomakeastructureofexactly60minutes.ThepresenceofFibonacciratiosatthe‘macro’levelisalsowovenintothemiddleand‘micro’levelsasdiscussedbelowwithinthesectionanalysis.FirstmusicalsketchesWiththe60–minutestructuralscaffoldinginplace,Iwrotefragmentsofmusic(chordprogressions,melody,ostinato,rhythmiccycles)asemotionalandpsychologicalresponsestothetext.ButtheveryfirstmaterialactuallydatesbacktoApril2012:


Thissketchfrom15April2012satinthedrawerforoverayearwithaverygeneralideaof‘TheFinalHour’andonlylaterwasspecificallyalignedwithPart2(citytowers).Probablythesecondmusicalideatoemergewasathemewrittenaroundmidnight(ahotsleeplessJanuarynight):

ThisthemeisfoundinPart1(speedingcar).


PART11:preludeThis60–secondintroductionhasnotext.Itisaseriesoforchestraltutti‘hits’basedonaharmonicsketchoftwopitchescollapsinginwardincontrarymotion:

Itrepresentstheideaofbirthorre-birthing–metaphorsofdefibrillatorsorimplodingstarswerepartofthatconcept.Andthehits arespacedapartinbarsectionsof 2– 3– 3– 5– 8,whichhave Fibonacciproportions:

Inbetweenthesehitsarefreedrumkitfills(marked‘ominous–likethunder’)alongwithenvironmentalsoundsofoffices,trains,wineglasses,camerashutterclicksandsuch:literallyasnapshotofsoundsthatwillhaveapresenceandmeaningoverthesubsequenthourahead.


2:pulseandpresenceThisisthefirstsectiontoincludetextnarration:Pulse.Presence.Thisalone,Andthenanother.GraftingdarknessIntoresonance,Thensenseandperiod,Fracturingtorhythm-This.Thennothing.AndanotherAndthoughtheradialclockthatstruckThisfinalhourofyourconcealment’sspanHasmouldedworldsfromcirclinghandsAndlongforgottenwhatthewrittensandsInkedintorockbeforeyourtimebeganItstopsamomentnowtotwistthestrandsOfpulseandpresenceintotime’scommand Baglinisdescribingtheemergenceofahumanlifeinutero(inthewomb).Forthissection,Icreatedarhythmiccycleof30quaversthatwouldhaveenergyandpropulsion:3+2+3 ∆|∆ 2+2+2 |||3+2+2 ∆||3+3+3 ∆∆∆Theuseofthistechnique(foundinmanyofmyworks)wasnotablyinfluencedbytwoworksfromthe1980’s–Tehillim(1981)bySteveReich;andTheFirstCircle(1984)byPatMethenyandLyleMays.Thesecellsrepresentthesmallestor‘micro’levelofFibonaccirelationshipsinthework.Andthistranslatedintoa4–barmetricalpattern:4/4+3/4+7/8+9/8Atfirst,this30–quaver,4–barpatternisfragmented,presentinganunstableoscilloscope–likeblip,torepresenttheemergenceoflife:


ThisinturnhasharmonyoverlaidagainstthenowmoreconstantG(abovemiddleC)withalternatingshadesofminorandmajorharmonies:

Andthatisfollowedbythebeginningsofamelodythatwilllaterbecomethecentralmelodyfortheentirework:

ItisbasedaroundGmajorwithmodalalternation(Enatural/Eb)andtheemergingmelodyisanthemic,initiallyusingjust4notes(G–A–B–D)–aGmajortriadwiththeadditionoftheseconddegreeofthescale.The30–quavercycleasarhythmicmotiveappearsinsections2,4,6,9+10.Whilenotatedasabove,attimesthedrumkitisgivenlicensetoplayafullycrotchet–basedmetricalschemeagainstthat:4/4+3/4+4/4+4/4Thequaverpulseisshared/locked–ineitherway;butthiscreatesanambiguityofmetricalgrouping.Thelatterislike4barsof4/4withamissingbeat–andwithnotablyoffbeatquaversyncopationoverthefinaltwobarsof4/4.Bycontrastthewrittenmetreendingwith7/8+9/8createsan(atfirst)unpredictablealternationofcellsofeither2or3quavers.


3:memoryjarTakeouttheglassyouplantedonceBelowasaplingtreeAndturnthelid–alockOfchild’shair,(brown,yourown)…Adesiccatedchrysalis…OneSummer’sghostofthistledown…ApictureofyourmotherDancingwithamanYouthoughttobeyourfatherUntiltheirlastproprietiesBrokeopenliketheglassUnderthetall,memorialleavesOnemorninglikethis(ThennothingThenanother).MemoryJarisaimedatportrayingthebeautyandsadnessofnostalgia.Itchangestoa3/4metreforthefirsttimeintheworkandexploitsthehemiolarelationshipsthatcomewiththat(3:2+4:3).Itislooselyinaternaryform(ABA)withthelongestsectionfirstandtheshortest(returnofA)last.Itfeaturesthefretlesselectricbassasafront-linemelodicinstrument,presentingan8–barantecedent/consequentphrase:

Theviolinandoboeanswerthisinflowingcounter–melodicstyle,firstincallandanswer,andthencomingtogether:

ThemiddleBsectionfeaturesflowingconnectedsemiquaversinprogrammed(MIDI–triggered)synthlinesthathighlightdifferentgroupings:


Allninepitchesstartoutpannedcentreandthengraduallyfanoutacrossthefullstereofield.Theeffectismostapparentlisteningonheadphones–somewhatakintowatchinga2–dimensionalimagegraduallycometolifein3dimensions.4:speedingcarandbrokensignalThissectiondescribestheunpredictabilityofaroadaccident:Thehourholdswhathappened,howyouwalkedIntothecamera’seyeat2am,stillunafraidForwhatthehouraheadmightholdWasnotyetwhathadhappenednext:TheliquidcirclesofthecitriclightsLitlinksofraindropslikeelectricjewelsUponthewindscreenasyouturnedthekey;ThecarrodesoftlyintorollsoflightAndtheodometerquickenedoverlinesTowardthesignalflash,andthenaspeedingcarFlewlikeaboltofcolourthroughtherain-Andshop-lightsDicedtobiscuitglass,Weredancingonthetar,Brightparticlesofcircumstance.Itisbuiltoverasimplequaverostinatooscillatingbetweentwopitchesaperfect4thapart:

The8–minutestructuralarcofthis4thsectionismadeupof5elements:•soundscape(pulseless)•ostinato•travellingmotive•bridge(accident/interruption)•variationsThese5elementsplayoutinchangingorderandvariablelength,asshowninthefollowingdiagram:


Thetravellingmotiveandvariationsaresharedbetweenfretlessbass,distortionguitarandsopranosaxophone.Ofparticularnotearethethreebridgesectionsthatreferencetheearlier30–quavergrouping–butatamuchfasterspeed(crotchet=180):

ThisearlysketchfromJuly2013wasfurtherrefinedmelodicallyandharmonically:

Thebridgeideawasintendednotonlyforoverallthematicconnection(cross-pollinationbetweensections),butalsotoconveyaheightened‘accidentalert’mode.Itinterruptsthesteadydrivingfeelofcrotchet=120bymetricmodulation;andthehighertempoofthealternatinggroupsof2and3quaversishereevenhardertopredict.Thebridgesectiongetslongereachtime,leadingtoafinalcascadingof“shop-lightsDicedtobiscuitglass…dancingonthetar”.Thisend–of–sectionclimaxincludesafrenziedsopranosaxophonesolotogetherwithsoundsofatraincrossing.Interestingly,thepoetimaginedacollisionoftwocarsatanintersection.AndIimaginedacarcollidingwithatrainatasignalcrossing.Eitherway,it’safrighteningscenariothatstandsasametaphorforthefragilityofhumanlife.


5:fateiswherelostchancesgoFateiswhereLostchancesgoOutsidemywindow,SnowisshapedTothemaskofthewindThatblowsitscoldforgetfulnessOverallthatliesbelowThefinalsectionofPart1is13minuteslong.Andasthehandsketchbelowshows,therewasanintentiontofurthersubdividethisaccordingtoFibonacciproportions.Certainly,themiddledivisionof5+8minutesismarkedbythestartoftheextendedfretlesselectricbasssoloagainstlongstringsectionchords.Thefurthersubdivision(bottomline)madesenseonpaper,butinrealitytheoutersectionsof‘fate’utilizeanumberofmetricmodulations;andatcrotchet=50,thatsmalleststructuraldivisiondidnoteventuate.

TheopeningmotiveforfatewaswritteninJuly2013andatthattimewasseenasbeingsection4(eventuallysection5):

Inadditiontothesomewhatminimalistpianomotivewhichexpandsouttotheminor3rd,major2ndandthenminor7th,thecountermelodyinthefretlessbasspresentsthat4–notemotiveroughlyinreverse(startingwiththe7th).Aftertheopening95secondsoffate,theharmonyshiftsupamajor3rdtoF#,withmultipleguitarsdovetailedincallandanswer:


Thesepatternsalsonotablymakeuseoftheintervalofa7th.Rhapsodicoboemelodiesareoverlaidleadingtoametricalshifttoa12/16metricalre-grouping,followedbyareturntotheguitarcounterpointin3/4.Thiscreatesasmallinternalstructuralarch,referencingthelargerglobalarchofthetwoparts.Thefretlesselectricbasssolothatcommences5minutesintofateisfullimprovisedoveratwoandahalf–minutespan,withtheinstruction:“SOLO:freely– lyrical,consoling,mystical.Makeuseofdelayand/oroverdubs(polyphony).”Additionally,thebassplayerisgivenjazzchordsymbols(Emin9,Gadd11,13etc.)thatreflecttheharmonyinthestringsunderneath.AharmonicreductionofthestringsshowsthefollowingEminor–basedprogression:

Thisisscoredin4/4,buttheharmonicshiftsaresoslowthatthemusicisalmostbeyondmetricaltime–oratleasthighlyfluid.Thebassplayer,however,hastheadvantageofclicktrackonheadphonesinrecording.Sowhiletheyarefreetogooff–the–gridmetrically,theycantargettheapproachtoeachnewchord(especiallythosewithachangedbassnote)inharmonicallymusicalways.Inmymindthisbasssolorepresentsanoasisinthemiddleofabarrenorfrozenlandscape.

Afterthefretlesselectricbasssolo,theopeningfatematerialreturns–thoughwithanumberofmotiveseitherinretrogradeorinversion.Thisovertlyreferencesthepossibilitiesofarchform.Andsotherearearches(3/4to12/16andbackto3/4),withinarches(fate)withinanoverallarchstructurefortheentirework.Thiscanbelooselyconsideredlikefractals:self–similarityonmultiplelevelsorscales.


PART26:citytowersLikefatebeforeit,citytowersis13minuteslongin4sections:

section title duration 1 euphoria 5' 2 intrigue 4' 3 bleak 3'

4 despair 1' NightfallsaslogoscrystalliseOncitytowers,whoseabstractedlightsCutvacantdesk,andemptyscreenThattraffickedrumourthroughthedayLikestreetlightsspellinglostcommandsTosilentintersections,inthedeadofnight.Andyoursisthelastdesk,there,totheright:Yourphotos,andmug-ring,somepropertydeeds,Andhere,wherethefinalhoursarefiledTheminutesofmeetingsinmarginsofpower:Part2ofTheFinalHourstartswithpulsingenergizedsynthchordsoutliningthe4–bar,30–quavermotivefirstfoundinpulseandpresence.Theopeningdirectionforcitytowersis‘saw-toothwave–hot,electric’.Iwantedasynthpatchthatwouldbelikethesoundofelectricity.Andso,ontheadviceofmyco–producerLukeHoward,wetookalaptopdowntotheMelbourneElectronicSoundStudio(MESS)inNorthMelbournetoaccessanoriginalProphet10synthesizer,retro-fittedwithMIDItoallowittobetriggeredbycomputer:

Theanalogequipmentisnotwithoutitschallenges–ittooksometimetogetintune;andtoreliablyvoicechordsofupto9notes(5intheupperstaff,upto4inthelower).Butthesoundqualityisquitefat–arguablyricherthanasoftwareemulationversionofthesamesynth:


This8–barphraseharmonicallyshowsmodalalternationbetweenF(add9)andFmin7(addb13).Itisrepeatedagainwithalowbassentry.Andthenthose16barsarethemselvesalsorepeated.After32bars,anotherelementisadded–ahigherregistersemiquaverarpeggiofigure:

Thislineinturnisharmonizedin3rds.Thesynthpatchforthislineincorporatesamonophonicpitch–glideeffectthatismorepronouncedthewidertheintervallicleap.Thistypeofmonosynthpatchwasnotablypopularizedinthe1970’sthroughgroupslikeEmerson,LakeandPalmeronalbumslikeBrainSaladSurgery(1973)–andtobeprecise,around4’55intoKarnEvil9.ThemonopatchusedbyKeithEmersonisagoodreferencepoint.Thealbumcreditslist‘custombuiltMoogSynthesizers’asthelikelysoundsource.Theopeningmaterialcontinuesfor120barsandthenmorphsintoahockettexturecreatedby3electricguitars.

4minutesin,thecentralanthemmotivefrompulseandpresence appearsisoverlaidintheoboe– stillnotfullyformed;butmoresothaninPart1:

Thetwo–barantecedentisansweredbytheconsequentinbars3+4.Inall,thematerial,soundandlayeringofelementsaredesignedtoconjuretheeuphoriaofbigcitieslitupatnight.Butunderneaththeelectric,neonsurfaceliesdarker,seedierrealitiesand‘euphoria’thenshiftsto‘intrigue’.ElectricguitarsgraduallyweaveacanonicwebaroundtheveryfirstmaterialcomposedforTheFinalHour:


Theinternalrepeat(shownhereaftertwobars)wasjettisonedinfavourofusingthefull4–barphraseandallowingthesubsequentcanonicbuilduptogenerateforwardmotion.ThisclearlyreferencesSteveReich’stechniqueofsubstitutingbeatsforrests.IanalysedhisNewYorkCounterpoint(1985)formyHonoursthesisin1988.It’snotatechniqueIuseonaregularbasisinaformalway–butusingitonthismotiveisperhapsascloseasIhavecometodoingthat.Thisbuildstoanensembleclimaxatthe8–minutemarkofPart2:

It’snoaccidentthatthis4–barriffisin4/4withthefinalbardroppingacrotchet(3/4).Itaddsupto30–quavers–referencingthemainmotiveforthework.Itisrepeated3timesbeforesubsidingbacktothemutedguitarriffthatthesectionisbuiltover.Andthisinturnslidesfurtherintothe3rd‘bleak’section.Withthiscomesarepriseofthe4–bar,30–quavermetricalstructure;thoughnowmostlyintheverylowregisterwithjustoccasionalharmonyandcolourwovenoveraveryslowrateofchange–almostnothingishappening.Itcouldbeinterpretedthereforeas‘thedeadofnight’.Finally,forcitytowers,thelastminutebottomsoutinto‘despair’.Rhythmicenergydriesupleavingmostlylowsustainedorgantones,lowsustainedstringsandafretlesselectricbasssolo–alastglimmeroflighthiddenawayinadesertedunseenlanewayorbasement.7:thistleseedFromthedepthsofdespairarisesahopefulprayer:“Howheavythewindtreadsoverthereeds,Hownumbtheclock,alonewithitshours;Lord,floatmelikeathistleseedAndfindmyplacetoflower”Despitethereligiousreference,itisessentiallyasecularprayer;acalltofindplaceandpurposeinaworldmeasuredbyfinancialsuccess.Thisisrepresentedbythevoiceofasoloviolin(marked‘moody,rhapsodic–intense,lyrical’)overaglitteringsynthpedalnote.Andthisleadstotheintroductionofapianochoralmotive–adaptedfromtheearlierchant–likefigurefromfate;butnowtransformedharmonicallyintothemajor:


Soloviolinandpianocontinuetoworkaroundeachotherleadingtoadance–likesectionbuiltaroundtripletsemiquaversinMIDI–programmedcelestesynthlines:

Thepolyphonycontinuestothickenandoverlapwiththeadditionofashufflefeelinthelivedrumkitandawritten–outsoloforthefretlesselectricbass.Whenthechoralthemereturns(againtheinfluenceofarchforms),theviolinandpianonowcometogether.


8:stationarytrainsSomewhereinthefinalhour–Thesquare,illuminatedfaces,Singinginthebaseofaglass,Constructinghalf-rememberedsongsFromlong-crematedyears,IsawthefearstartinyoureyeAndtwistlikewatertoadrain;Thathopeandpromisewouldnotcomeagain,AnddawnwasknockingLikeabailiffatabrokendoor.Then,whenthefinalhourhadstruck,YouturnedandraisedthewindowblindandsawAthistle’sarmour,rustingonamoorOfstationarytrainsAmoonthecolourofwinterrain.Thissectionrecapitulatesthematerialofspeedingcartoahighdegree–thoughnotnecessarilyinthesamephraselengthororder.It’snowa5–minutesection(ratherthan8)andfurtherdividesinto3’+2’.After3minutes,wegetoneofthelongestcontinuousspeechnarrativesagainstsemiquaverpatternflow.Andthen,towardtheend,thereisvariationoftheanthemmaterial:a7–crotchetphrasecastin4/4+3/4initiallyinthepiano:

Whilethisisanewmetricalpattern,thefirst3notesoftheupperline(scaledegrees1,2+5)are,ofcourse,thefirst3notesofthemainanthemicmotivefortheentirework.So,whileitcreatesanotable(ifquiet)arrival,itishighlyconnectedtothefabricofthework.


9:theatmosphereAndnowthefinalhourisopeningoutLikebackwardmusic,slowcadenzaOfthemitochondrion;theteemingstarsAreghostedonthedustandracingIntorealmsoflight,burning,dyingInthecauldronoftheblast,Aswehurry,andrummageOntheoutskirtsofamortalstarMakeloveinthemidstofmyriaddislocations,AndfeeltheorchestraofcellsdissolveAtlasttoimpersonaldissonance;Thesuntreadsatomsintoflame,Alifetimeshapesaboutyourname,AndfarabovetheatmosphereIsvaultedwithcoldtomorrowsAsthememoryjaropens,thechrysalisfliesThethistledownseedescapesintoflower,AndaspiralunwindsandtwirlsintolightAndwakesinthepulseofafinalhour.Section9featuresanevenlongervirtuallycontinuousnarrativeoverthe30–quavercycleandrepeatednotesfirstpresentedinpulseandpresence–harkingbacktothebeginningsofthework(modalalternationofmajorandminorintervalsagainstafixedpitchof‘G’).Thatnarrationlasts1minuteandleadstothefirstfullstatementofthework’smainanthemicmotiveintheoboe:

Thisissubsequentlyfollowedby8barswithouttheanthem–butitthenreturnsinsixrepetitions,eachtimewithalteredinstrumentation,registeroraccompanyingharmony.Gasatonicpedalcontinuesthroughouttheserepetitions,graduallyalsobuildingtensionthroughmotoricquaverrepetitionuntilarrivingatthecodaforthefinalminuteofthework.10:codaThecodacontainsnofurthernarrative;itisapurelyinstrumentalconclusion–thoughcertainlyintendedtosumupthefulldramaofthework.Itcontinuestherhythmicflowandtensionbuiltacrossthepreviousthreeminuteswithafewnotabledifferences.Thelast60secondscontainsafasterrateofharmonicchangethananywhereelseinthework.Itachievesthisthroughchromaticalterations,modalalternation,alternativebassnotesandmetricalvariation.Theanthemmelodyisstillinplay,butnotasfullphrases–thesearenowdeliberatelyfragmentedintosmallerunits,oftenleftsuspendedandun-resolved;orresolvingmelodically,buttounexpectedharmonicchange.Mostofall,theharmonicprogressionisdeliberatelydesignedtodelayresolutionuntiltheveryend.Takenoutsideofitsrhythmic,metricalcontext,areductionofthisharmonicprogressioncanbeseenhere:


Thecentralpitchof‘G’isofteninplay–butgenerallynotasabassnote–andwhereitis,thereisoftenmodal,chromaticalterationabove.ThisisdesignedtomaximizethefinalcadencetoG(albeitwithaddedtones).InstrumentationTheFinalHourdeliberatelysetsouttocombineclassicalandpopularinstruments,acousticandelectric,playedandprogrammedsounds.Tothisend,theorchestralinstrumentsutilizedincludeoboe,sopranosaxophone,grandpiano,vibraphone,suspendedcymbals,soloviolinandastringsection.Thejazzandrockinstrumentsincludearhythmsectionofelectrickeyboard,uprightacousticbassanddrumkit;4synthesizers,4electricguitars(alsoincludingnylon-stringacousticandtwelve-stringguitars),electricfretlessbass,shaker,triangleandotherpercussion.Ofcourse,anumberoftheseinstrumentsexistinbothworlds.Andforthispiece(andinmymusicingeneral)theinstrumentsaredeliberatelyambiguousbysound,languageandfunction.Thesoundworldisnotattemptingtobeovertlypostmodern.Whatisattemptedandintendedisasynthesis,notacollision.NarrationThenarrationisdeliberatelysegmentedandevenfragmentedacrossthefullcourseofthehour–longstructure.Sometimesjustawordoralineisused,atotherssomemoreextendedsectionsarepresented.Echodelayisusedasadeliberatetechnique(ie:another,nother,other,etc.).ThiswasinfluencedbytheuseofthistechniqueinPinkFloyd’sDarkSideoftheMoon(1973),wheresongvocalsonUsandThemaregiventhistreatment.Here,thewordsareonlyspoken(neversung)–buttheinfluenceisclearenough.Thewordsaremostlyfrontandcentreinthemix(astheywouldbeincinematicnarration).Butattimesthenarrationisfiltered(astheyareinfate)togiveasenseofdistance.Andsomesyllablesareexaggerated:“fffff–fateiswherelostchancesgo”.The4–linepoemforthistleseedisheardfirstbythemainnarrator,thenheardagainrepeatedinthevoiceofayounggirl.Additionally,whilethetextessentiallyisreadfrombeginningtoend,certainlinesarerepeated,sometimesinquitestructuralistways.Incitytowers,thefirstthreelines:NightfallsaslogoscrystalliseOncitytowers,whoseabstractedlightsCutvacantdesk,andemptyscreen


Unfoldgraduallythus:NightfallsNightfallsaslogoscrystalliseNightfallsaslogoscrystalliseOncitytowers,whoseabstractedlightsCutvacantdesk,andemptyscreenvacantdesk–emptyscreendesk–screen–vacantempty(echodelay)Thisisanadditive/reductiveapproach(inarchform)tousingthetext.Whilethepoemwouldnotbereadonpaperinthisway,itsfunctionwithinthemusicalnarrativeisalreadyaltered;andasthemusicmakesuseofadditiveandreductivetechniques,havingthenarrationalsoaffectedinthiswayhelpstosynthesizetheotherwisequitedifferentartisticdisciplinesofwordsandmusic.SettingnarrationagainstamusicalbackdropissomethingthatRossBaglinandIhavedonebefore.Ourfirstopera,Nelson(2005),hasanarratorforsomesections;theywereplayedbyanactor(notasinger)andwefelttheyworkedeffectively.Theprincipleissimilarhere,exceptthatitisattimesadditionallyalteredthrougheditingandsoundprocessing.EnvironmentalSoundsInadditiontothestudioorchestraandnarrator,TheFinalHourmakesuseofenvironmentalsounds(‘foley’incinematicterms).Thesesoundsdirectlyrelatetothetextandincludethefollowing:Officesoundsfilingcabinetshutting,scissorscutting,computerkeyboardtyping,phoneringing,writingonpaper,scannerSoundsof(orrelatingto)childrenmusicbox,younggirl’svoice,childrenplayinginthebackyard,breakingstickCarsoundscarignitionstart/stop,windscreenwipers,cardooropen/close,carhandbrake,carseatbeltlockTrainsoundstraincrossing,boomgatesignalOthermiscellaneoussoundscamerashutterclick,rummagingthroughbox,icecubesinglassofwater,wineglassesrubbedandtappedSoundProcessingAsaconceptalbum,thetechnologicalpossibilitiesofsoundmanipulationwerefullyinplay.Notallsonictransformationsthatwereattemptedwereusedorkept.Someaudioprocessingwasconceivedaspartofthecompositionalprocess–andmarkedinthescoreassuch.Butsomeaspectswereconsideredandtriedoutaspartofthepost–compositionalstudioproductionprocess.Eitherway,abasicquestionwasasked:doesthisenhancethelisteningexperienceordetractfromit?Themostcommonaudioprocessingtechniquesusedwere:


•reversal•pitch–shift(includingslow–downglissandi)•timeexpansionandcompression•distortion,grungeandlo–fi•EQfiltering•reverb•delays•panningandvolumeAnumberofthesewereautomatedtoallowforgradualchangeandmorphingofsounds.TherecordingprocessTheFinalHourwasrecordedatGingerStudios,MelbaHall,Lukktone,BrianBrownStudio,MelbourneElectronicSoundStudio(MESS)andsundrydomesticresidencesandon-sitelocations(2016–2018).Environmentalsoundrecordingsweremadebythecomposer.Allotheraudiowasrecordedinhighdefinitionat96k/24bbyHadynBuxton(recordingandmixingengineer)withLukeHowardandStuartGreenbaum.Itwasmasteredat96/32byLachlanCarrickatMooseMasteringinDecember2018.Therecordingartistswere:

BarryCockcroftsopranosaxophoneCeliaCraigoboeDanielFarrugiadrumkitLeonardGrigoryanguitarsLukeHowardpianoandkeyboardsCraigNewmanfretlesselectricbassAlexPertoutpercussionBenRobertsonacousticbassMarianneRothschildsoloviolinAmyValentCurlisvibraphoneThestringsectionwasorganizedbyMattHoyfromtheAustralianNationalAcademyofMusiccomprisingcurrentandformerANAMmusicians:ZoeFreisbergviolinManaOhashiviolinMatthewLaingviolaAnnaPokornycelloMatthewHoycelloBenHanlondoublebassThenarrationwasrecordedbyAustralianactor,JohnStanton.TheFinalHourwasrealisedasastudioalbum.Itmayalsobeperformedlivewithsamples/stemswithasmallorlargerensembleofplayers.Theworkhasvisualpotentialincludingdanceandfilm.ThefullscoreisavailablethroughtheAustralianMusicCentreandpartsdirectlythroughthecomposer.Article©StuartGreenbaum,27July2019