We’d like to present you to the Alonzo Church


I wrote this for piano, panpipes, cor anglais and a contrabass balalaika. I also put in a whole lot of clanging, jangling things, which Sibelius calls bongos, congas, castanets, timpani, a tam-tam and a drum kit.

Throughout, the primary accent falls on the twentieth demisemiquaver of each measure.

In the introduction and three long sections, which I think of as the verses, a secondary accent falls on the third quaver of each measure. In the two shorter sections, which I think of as the choruses, the secondary accent moves to the fifth quaver of each measure.

Every six or twelve measures, the tune instruments repeat a disjointed riff that catapults through the chords: flat-third diminished, third diminished, dominant seventh augmented, sharp-fourth minor, flat-third minor, sixth diminished, third diminished, tonic, followed by a single crochet (not-chord) dominant seventh.

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