Nexus

   “Nexus” was commissioned by the Dallas Symphony for the Dallas Symphony Brass Quintet and is a showpiece in the tradition of my previous work for brass quintet, “Firedance”. Although the word Nexus may make one think of a portal or cosmic place in the sci-fi realm, it was my intention to draw from a more earthbound-grounded definition…“A means of connection between members of a group or things in a series, link or bond”.  Like much of my music, Nexus is melodic, but also with an urgency, flare and virtuosity that make it fun and challenging for each performer.

     While composing this piece in 2010, I was inspired by the vision of a full ninety-piece symphony orchestra.  From there I split melodies, harmonies, ostinatos, and percussive rhythms and divided them amongst five brass players. My goal was to capture an orchestra’s sense of color and impact with only five people. When you hear the ostinato of fast sixteenths being passed from the horn and trumpets, imagine a string section providing a driving undercurrent for the melody played by the brass and woodwind sections. The trombone and tuba answer the melody with a brief repeated passage that mirrors a Celli and Bass section. The composition itself is mostly in7/8, giving it forward momentum and drive. This exciting thrill ride has an almost cinematic feel, much like its title.

Notes for the Performers:

    To be played with absolute control while never letting go of the intensity and drive. Nexus at times weaves in and out of fast bursts and flourishes while melodic lines are passed from player to player. The goal is to be seamless and mimic a full orchestra passing phrases from section to section.  I intentionally didn't write for mutes, but still want to achieve as much color change as possible when shifting from melody to accompaniment.

     The trumpets pass the melody back and forth while trying to mirror each other’s playing and style. The low brass should drive the work with intense style without becoming too heavy.  It's very important that the ostinato that gets passed from the trumpets and horns be absolutely even and as smooth as possible.  Try to think of it as a unit rather than an individual.  The low register of the tenor trombone will be challenging but ultimately rewarding for the composition color.

B♭ and C trumpet parts are included