Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only Sheet Music | Grahame Gordon Innes | Full Orchestra
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Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only Digital Sheet Music
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Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
by Grahame Gordon Innes
Full Orchestra - Digital Sheet Music

$44.99
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Cart purchase includes:
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Product Description

Symphony No 22 "Galaxymbion" is a 7-movement symphonic setting of scenes from my novel "The Galaxymbion Odyssey"

MOVEMENT 1 The Kytonian Expanse

TOTAL NUMBER OF BARS = 2670 

TOTAL DURATION = 125 minutes 

General methodology of composition;

1.       No fixed tonal centre

2.       Each movement inherits material from its predecessor

3.       The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.

1.       The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the works unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenbergs theoretical model of tone rows in an inclusive way, so that it is part of the works musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.

There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the spark or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.


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