In my continuing peripatetic efforts to hybridize symphonic, trance, minimalist and polytonal, here's "Modulations I (Preview)" in HiFi and LoFi for your pleasure and comment (please).
As has been my pattern of late, it's GPO and "other". The piece is now just under 4 minutes and has (planned) another "break section" and recapitulation of the main section before a (planned) spectacular ending. So you'll be hearing a work that is very much "work in progress".
P.S. For those who are interested in such things, the current "little break" section at around 2:40 leaves the 4/4 meter and goes into two measures in the "traditional 11/8" (as Don Ellis used to say), followed by one measure of 3/4 before returning to the main 4/4.
The orchestration (so far) is at least two articulations (each) for 1st and 2nd violins, violas, celli and double basses, harp, timpani, flutes, French horns, trombones, contra bassoon, English horn, clarinet and xylophone. [As usual, sequenced in Cubase SX 2 taking about a 1.2 meg RAM working set.]
UPDATE: The PREVIEW version links (above) are still effective, but the piece is now "finished" (though not published anywhere) and is here in HiFi (160K MP3) and here in dial-up-friendly LoFi (64K WMA).
Improvements were made to the Intro (less accordion-sounding, though some folks liked that "Parisienne" sound) and a second "break" was injected at 3:53 with a final recapitulation of the main "A" theme (this time with some trumpets quacking on off-sextuplets and xylophone pounding away on the on AND off beat of that so as to end up with 6 against 4). MORE COMMENTS?
Incidentally, the title refers to the constantly shifting chord structure. From a simple 8-chord (16 bar) pattern, variations are developed -- such that the "home key" is really never discernable.
FURTHER UPDATE: Just when you think something is "final" you wake up and smell the coffee. The links (just above) were updated to reflect this mornings' version. The original top links still reflect the first version for those who would like to compare.