FOUR TYPICAL PICTURES

The piece is split into four separate movements, each of which with its own clearly defined style.
The first movement, ''Intro - Aeolian (Minor)'', employs a natural minor scale. There are certain moments during the movement when the sonority, the language and melodies employed clearly evoke the language of jazz.
The formal catalysing element in the second movement, entitled ''Meditato (Cromatic)'', is the descending chromatic scale performed in alternation by all the sections of the band. A piece for voices superimposes these chromatic fragments and gradually develops throughout the movement.
The third movement, ''Scherzo (Whole Tone)'' employs a whole-tone scale. Its language creates quite a different atmosphere to the previous movements. Sometimes playful and jocular, sometimes left suspended, the music aptly fits its title.
The final movement, entitled ''Finale (Pentatonic)'', develops around a pentatonic scale with provocatively relentless sections. The initial theme is juxtaposed and superimposed by themes employed and reworked from the three preceding movements, almost as if the composer wished to highlight the culminating concluding moments to the piece.
This composition seeks to explore the ceremonial quality and resonance of these four musical genres, highlighting, wherever possible, the atmosphere and special features belonging to each and every one of them. Underlying all of this is a powerful desire to make available to bands and public alike, a musical work belonging to a consolidated musical heritage but re-proposed and reworked in a more accessible simpler language and with a medium-difficult range of execution.