Duration: 14:12
Keys: G Major, E minor
Subcollection: Mars suite, piano pieces
Story sound clip: rocket landing, rock fall
Main theme:
Story
This story has a lot to do with religion and the organized church, in particular. Thus I opened (and closed) "The Fire Balloons" with what is hopefully recognized as a hymn. I am not accustomed to writing in such a blocked manner, but I certainly played enough hymns that I know what makes them tick. Interestingly, the melody for the first few lines of the hymn is note-for-note the main theme from "The Exiles" (see The Mars Suite).
When I say hymn I, of course, mean Earth hymn. As one will see in the story, religious beliefs and customs on other worlds may have very little in common with those that we are familiar with (indeed, one does not have to look to other worlds to observe this). When the story arrives on Mars (1:43), I shift to my Mars key of E minor and introduce a theme in 7/8. This music is much more polyphonic and free than the Earth hymn. Perhaps the music from 1:43 to 2:44 -- which we would classify as god knows what -- could be considered religious music in other cultures.
My sonic representation of the fire balloons is first heard at 4:08. This sets up the rescue which takes place at 5:44, and they of course come back at the very end of the piece. I intentionally wanted the fire balloons to be reminiscent of the sun dome from "The Long Rain" because the fire balloons, in a way, offer the same protection on Mars that the sun domes did on Venus.
Music
The music from 2:44 to 5:38 was entirely crafted around two chords - E minor and B minor/E. These were chords that I had been playing with several months in the key of G minor before realizing that, after transposition, they were just what I needed in "The Fire Balloons." The trade-off improv from 2:44 to 4:10 was recorded in only four takes -- two for each part.
The solo piano section (6:12 - 10:04) was written in one sitting at my Grandparent's old piano, which does not dampen very well anymore and so is perfectly suited for this part's reverb and character. It begins with a flourish of E minor in second inversion, the same flourish that begins "The Exiles" main theme. During the second time through, the flute is playing the melody from "The Visitor" (give or take an octave).
At 10:37, we are back in 7/8 and I attempted what I call a "reverse round" in which various parts are already playing on top of one another at the onset, and then peal off one after the other (rather than adding on one at a time). This technique follows from my belief in our ability to retro-listen, or hear things after they've stopped. Though it is not to the same extent as when a sound is introduced, I do feel that a sound is emphasized when it is taken away.
Tidbits
During the first 7/8 section, the progression comprises 7 chords rather than the stereotypical 8.
The pounding F-sharps that lead to an E at 4:02 were put in place before the improv takes to clue me in to the chord change that is about to take place.
In order to practice the two high piano parts which begin at 4:23, Sam had his brother Drew play the base chords on the family piano while Sam played next to him.
At first, members of Sam's family were not pleased with the off-chord notes in the piano solo section (e.g., at ??) but have since come around to approve of them.
An organ, which is mentioned explicitly in the story, can be heard in the music.
Composer Trademarks
(simultaneous pianos) beginning at 4:23.
My Favorite Moments
The shift from 7/8 to 6/8 at 2:44.
The C7 chord at 4:08.
The piano left-hand at 5:15.
The accented notes at 8:02 and 8:04.
The release of the flute at 10:06.