This piece starts off as a frenetic, menacing and oddly syncopated piano arpeggio using some of the most out-there chords that have ever crossed my fingers. Much of it is in the Ukrainian Dorian mode, and the rest, well, I'm not exactly sure. As it progresses, a horn section (trumpet, alto and tenor saxes, bass trombone) weaves in and out, while a violin and flute combo appear from time to time. A contrabass holds down the low end, sometimes alone, sometimes alternating or pairing up with the bass trombone.
As I composed this, more and more salsa elements, of all things, started unintentionally coming out of the woodwork, so I went with it. This is most apparent in the rhythms of various instruments at certain points, as well as in the horns. If you think you hear claves, they're actually the violin playing pizzicato.
Image made with Deep AI and a series of prompts that would make David Lynch proud.
Copyright (c) 2025 by Scott Sadowsky. Registration # 2025-A-2965 (Chile).
Repost is prohibited without the creator's permission.
This piece starts off as a frenetic, menacing and oddly syncopated piano arpeggio using some of the most out-there chords that have ever crossed my fingers. Much of it is in the Ukrainian Dorian mode, and the rest, well, I'm not exactly sure. As it progresses, a horn section (trumpet, alto and tenor saxes, bass trombone) weaves in and out, while a violin and flute combo appear from time to time. A contrabass holds down the low end, sometimes alone, sometimes alternating or pairing up with the bass trombone.
As I composed this, more and more salsa elements, of all things, started unintentionally coming out of the woodwork, so I went with it. This is most apparent in the rhythms of various instruments at certain points, as well as in the horns. If you think you hear claves, they're actually the violin playing pizzicato.
Image made with Deep AI and a series of prompts that would make David Lynch proud.
Copyright (c) 2025 by Scott Sadowsky. Registration # 2025-A-2965 (Chile).