Time Long Past - Composed by Andrew Wilson

My next big announcement I'm pleased to share is that my newest single is out!!! https://open.spotify.com/track/5gNZD49NY8mT78KF8wtFG8...

This was a huge collaborative effort and I couldn't have done this without a number of people. The first of which is my parents, Susan Combs Wilson and Daniel Wilson who have continually supported me through all my quirky interests and desires and have helped me get through college. My dad also helped put down some of the parts for the trumpet soli to continue a New Years tradition we've had of playing Auld Lang Syne when the clock strikes 12:00. This year we put in the work ahead of time so we could just chill and listen to our product at midnight. Next I want to thank Daniel Dufour who killed it on drumset for this chart and handled playing in such complex meters with great ease!!!

Time Long Past is my version of Auld Lang Syne! It's very multimetered and has plenty of microtonality to go around! For those of you who would like to know more about the piece, I will now discuss the compositional techniques that I employed throughout the chart:

Featuring the debut of my Holton T-105 Quartertone Trumpet AND Holton ST-303 Firebird (Two of the rarest trumpets ever made), this song is already a very niche project. The further inclusion of a stereophonic whistle solo serves to further bolster the uniquity of the chart.

The Intro of the piece begins with a slow 3 in the bass, building and sustaining the 4 chords of the track, allowing for trumpet playing to occur in cadenza form while sounds of a blizzard rage quietly.

The A section is mostly in a swung 28/8 divided as follows; [(3+3)+(2+2+3+3)+(3+3)+(2+2+2)]/8. After this 28/8 is introduced, I use polymetric contrast with a phrase of 19/4 that alternates with the 28/8 to seemingly take it off course while truthfully, the length of the two cycles are the same (28:19). After this, the melody is presented with a trumpet soli in back which leads to a drum solo.

The B section is in 109/8 [(27+27+27+28)/8]. The further subdivision of this section is as follows: [(3+3)+(2+3+2+2)+(3+2)+(3+2+2)]×3 + [(3+3)+(2+2+3+3)+(3+3)+(2+2+2)] After bass and percussion enter, we are introduced to a solo by the Electrophonic Quartertone Trumpet! After 3 choruses (or cycles) of 109/8, we arrive at the stereophonic whistle duet. This occurs by having a melodic line begin in the right ear then quickly be repeated in a canon style in the left ear. The final chorus of the B section includes another trumpet quartet/soli using metric superimposition to provide a contrasting phrase of 109/8 atop the already existing rhythm section's 109/8.

We are then led to a mysterious cadenza while the blizzard howls in the background. This cadenza features two instruments; the Quartertone Trumpet and the Firebird. I use a variety of effects to make it sound as though you are drifting about before the drums come back in and the bass begins the final section.

The C section is in 27/8 subdivided as [(3+3)+(3+3)+(3+3)+(3+3+3)]/8. The melody returns atop this new metrically modulated recapitulation in 9 groups of 3 as opposed to the beginning 28/8. Finally, a complex trumpet soli occurs that rips up to the final note of the piece ending with a sense of grandeur.

Thank you to everyone who read all this and I wish everyone a great start to their year!!!