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Peacock's Perfectly Complete Collection of All Possible Musical Scales
Composer: Peacock, Curtis
Instrumentation: Methods/Studies/Etudes
Genre: ContemporaryThe following is the preface from Peacock’s Perfectly Complete Collection of All Possible Musical Scales:
This book is the product of three years of dedicated research and analysis of all known musical scales and theory of scales. For three years, I literally dreamed about scales every night! It is a “perfectly complete collection” because it contains every possible pentatonic (five-note), heptatonic (seven-note) and octatonic (eight-note) scale! The mathematics and matrices in Part Three prove, without a doubt, that I’ve included all four-hundred and sixty-two heptatonic, three-hundred and thirty pentatonic and three-hundred and thirty octatonic scales with no repeated scales. This is more than just a collection of scales, though . It’s also my arrangement of all possible scales. My arrangement includes technical analysis as well as historical context and my own personal organization from the perspective of a performer and a composer.
So what is this book? How does one use this book? This is a futuristic technique book for any instrument or voice: a path to the mastery of the music of the past, the present and even the music of the future! This book is not just a technique a book. But those who dwell in its pages will gain an advanced degree of mastery on any instrument as well as a sharper musical mind. For those with an open mind, it’s a book to inspire imagination and wonder too. For creative musicians, this book is full of strange new worlds to mine for rare musical metals: a kind of cookbook, prayer book, atlas and book of spells all-in-one. It’s also a source of comfort and music therapy: a place to meditate and appreciate logic; a place to get lost as well as a place to find yourself. I use this book to warm up and meditate with my horn every time I pick it up.
I also use it as a form of escape, as though it can take me to exotic vacation spots whenever I please. I even like to gaze into it like it is a crystal ball that shows me the future when I write.
More specifically, anyone using this book should start by studying the scales in Part One: Traditional Scales followed by Ferruccio Busoni’s kaleidoscopic variations on these traditional scales in Part Two. Then Part Three: Tetrachords is crucial for understanding the scales in the complete collections that follow. Each complete collection starts with variations on traditional scales followed by “Deviant” scales which do not compare to traditional scales and “Radical” scales which barely resemble a scale.
In his book, Sketch of a N ew Esthetic of Music (1911), Ferruccio Busoni describes all the paths of the modern music of his time as “leading so far afield – but none lead upward” [emphasis in the original]. He also describes the intervals within a heptatonic scale as being differently arranged in isolated passages by the likes of Liszt and Debussy, but claims “it does not appear to me that a conscious and orderly conception of this intensified means of expression has been formed by these composers.” From my perspective, over a century later, things have not changed. This book aims to change that with a systematic uncovering of all possible scales which offer a path upward to new and intensified means of musical expression.
While I can prove with mathematics that this book contains all possible pentatonic, heptatonic and octatonic scales, I did not use mathematics to generate these scales. I only used mathematics at the very end of the process to verify my findings. To uncover all possible scales, I developed my own unique system of tetrachord juxtaposition. With this system, every variation of each type of scale (pentatonic, heptatonic or octatonic) fits neatly into a matrix on only one page each! This is a testament to the simple elegance of my system. My matrices are included in this volume as well and I believe that with the use of my matrices, virtuosi of the future, including myself, could even play all these scales from memory simply by memorizing the order of tetrachords.
This book began when my wife, Lyndi, gave me a trumpet for Valentine’s Day 2019. With the addition of trumpet, I play every brass instrument as a multi-instrumentalist. My first thoughts about playing the trumpet were how easy and fun scales are on the trumpet. Without a doubt, the trumpet is the best brass instrument for scales. So as I began to play trumpet, I played all the common scales everyday. Then I started to write out these scales for my students and I thought it would be good to compile a more comprehensive book of scales for myself. When I began, I didn’t intend to write every possible scale. I merely intended to compile a more extensive book of scales for myself. But as I collected the scales, I put on a serious soundtrack of jazz and rock and went a little crazy. Then I added more and more until I exhausted all possible scales. So this book began as a scale book for trumpet, essentially. But it is now intended for serious musicians of any instrument or voice at any level and for creative musicians of any genre.
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Concerto
Composer: Peacock, Curtis
Instrumentation: Solo and Chamber group Instruments: Bass, Percussion, Piano, Tuba
Genre: Contemporaryreduction with Rhythm section (recording is with wind ensemble)
The Concerto for tuba and winds is in my usual Third-Stream style, but I utilized
many new techniques for the first time in this piece. Jazz, rock, hip-hop and many kinds
of classical styles come together in the Concerto. Polymeter, improvisation and intuitive
swing notation play important roles in this piece as well as traditional four-part
counterpoint and ancient Greek form. It is simply titled Concerto in a classical fashion
but each movement has a more descriptive title.
I. Swing Low
II. Adagio
III. Cutting Contest
I utilized a customized variation on the classical concerto form: a sonata-allegro
first movement, a slow second movement and a theme and variations finale.
Philosophically, this piece explores the traditional nature of a concerto from several
different angles. The first movement explores the cooperative side of a concerto. One
Latin root of the word concerto is conserere, which means to join. The soloist and wind
ensemble cooperate to produce many layers of polymeter in Swing Low. The Latin root
certamen, on the other hand, means to fight. So while the first movement is a
cooperative effort, the third movement, Cutting Contest, explores the idea of a musical
battle between the solo tuba and the wind ensemble on a familiar tune.
On March 6th, 2012, the Concerto was premiered in Seattle. Erin Bodnar led the
University of Washington Wind Ensemble with myself soloing. The Central Washington
University Wind Ensemble then recorded it with Dean Snavely conducting.This reduction of Concerto features two different versions of the third movement
to allow for players to navigate the virtuosic fingering acrobatics on an E-Flat or F tuba.
The solo lines at letter E were inspired by Arban’s Carnival of Venice.Curtis Peacock
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Dracula
Composer: Peacock, Curtis
Instrumentation: Solo and Tuba Quartet Instruments: Drum Set, Euphonium, Piano
Genre: ContemporarySolo Euphonium with Tuba Quartet (EETT) and Drums
Dracula for solo euphonium, tuba-euphonium quartet and drums was
commissioned by Benedict Kirby and the University of Montana for the 2014 Northern
Rockies Tuba Euphonium Festival. Demondrae Thurman was the guest artist of the
festival. So Dr. Kirby asked me to write a five-minute piece for the end of Demondrae’s
recital. I started with the idea that this would be a sort of finale or encore type of piece. I
wanted it to be a high energy closer. Early on, I envisioned something like The Edgar
Winter Group’s 1972 rock classic, Frankenstein. I did not do any sort of technical
analysis of Frankenstein, though, nor did I quote Frankenstein in any way. Rather, I tried
to capture the general character of Frankenstein. So this piece is like Frankenstein, but it
is not Frankenstein. That’s why it is DRACULA!Dracula is in my usual Third-Stream style. Jazz, rock, hip-hop and many kinds
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of classical styles come together in Dracula, but this particular composition draws most
heavily on the style of rock music. It contains some improvisation, but the improvisation
is largely limited to the drum part. The original composition did not include any
improvisation in the solo euphonium part, but Demondrae suggested that I add one. So I
added an optional improvised solo section for this edition. I utilized a few new techniques
in this piece, but the most notable new technique is an indication that calls for the
euphonium soloist to hype the audience. I envision the euphonium soloist playing the
role of the lead singer or front man for a heavy metal band of brass and drums. As the
front man, the solo euphonium soloist’s role involves more than just playing music. It
also involves making sure that everyone has a good time. Demondrae lit up the stage up
with his awesome dance moves at the premiere! I encourage other performers to wear
vampire costumes or rock star outfits and have fun with the theatrical aspect of this piece.
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Visions
Composer: Peacock, Curtis
Instrumentation: Solo and Piano Instruments: Euphonium, Piano
Genre: Romantic, VirtuosicVisions for euphonium and piano was written in the fall of 2014. It was commissioned by Israeli euphoniumist, Ifat Meir in memory of her mother, Sara Shlaifstein Meir. Ifat told me that her mother went blind before she passed away and had only fleeting memories of vision. At times, her memories of vision were very vivid and at other times, they were faint. So this piece was written with that idea of having varying degrees of memory of vision, but not actual vision.
Visions is a one-movement fantasy. Loosely, it has a kind of sonata form. After a very short introduction, two themes are presented. The first theme is conversational between the piano and euphonium. The second, more expressive theme marked con moto is played together. After the initial two themes, a kind of development section takes the first theme through many far-reaching keys. Then, the initial two themes return, one half-step higher than the original statement. Finally, a lengthy coda which is based on the brief introduction and second theme, serves as a kind of secondary development section before bringing the piece to a close.
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Titan Moon Sonata
Composer: Peacock, Curtis
Instrumentation: Solo and Piano Instruments: Piano, Tuba
Genre: Contemporarywith Piano
From the composer:
The Titan Moon Sonata is a programmatic sonata for tuba and piano in three movements. Each movement depicts a scenario related to Saturn’s giant moon, Titan. The form of each movement is through-composed and based on cinematic scene-form. In other words, each movement functions like the soundtrack to a scene from a film. Titan Moon Sonata was composed during the summer of 2014.
The first movement depicts an imaginary voyage that starts on the shores of Titan’s great methane lake, Kraken Mare. As the movement progresses, the musical scene depicts the waves and the turbulent ride to the lake bottom via submarine. The second movement depicts a space shuttle voyage from the surface of Titan to the rings of Saturn. The opening rockiness of takeoff gives way to the excitement of space-travel. This movement ends with a musical depiction of the grandeur of the rings up-close. The third movement depicts the daily eclipse cycle on Titan. It begins with sunrise before the giant Saturn eclipses the sun from Titan’s view. The movement ends with the sunset after the eclipse.
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