Asian Journey

Asian Journey combines a symphony orchestra with a selection of eastern instruments to create new and interesting timbres. The composition has a focus on rhythm, and various percussion instruments, such as tablas and taiko drums, are used in addition to the standard orchestral percussion. The piece moves through a wide array of time signatures, only sticking on a particular signature for a few bars at a time. This technique is found in Indian classical music, and it is used to constantly change the flow of the music. Common Chinese harmonies and rhythms have been applied to the various orchestral instruments, and use is made of the sarangi and erhu’s microtonal nature.

The introduction establishes the main theme, which is played by the first flute and first violins. After the initial melody, more movement is introduced and the flutes, violins and harp play an upward sequence. This section uses a special rhythmic technique where the three instruments play the sequence at the same time but with different rhythms, giving an oriental quality. The orchestral accompaniment at this point consists of large held chords that start to become louder and more discordant after each bar. The darkening timbre is emphasised by gong rolls and tremolo strings.

The next section has an agitated feel, which is achieved using staccato woodwind and strings. These instruments create a steady pulse, while the brass accents irregular beats. The time signature switches between 6/8 and 7/8, which gives an unusual and unexpected additional beat. This extra beat is often strongly accented to add to the dramatic effect. The taiko drum and tablas are used to add extra movement to the rhythm. The oud accents off-beats and the sarangi and erhu improvise over the top. As this section progresses, the rhythms become more varied, and more off-beats are accented. The clarinets start to play slightly before the other woodwind instruments to create a rhythmic echoing.

In the middle section, the flutes and clarinets play a similar melody over the top of each other. The clarinets now play half a bar behind the flute, creating a lagging effect. The violins also replicate this idea a few bars later. This section is anchored by the harp, which plays an oriental sounding melody. The texture is thickened by low woodwind instruments playing off-beat chords, fast repetitions from the oud, and a cello melody that is interwoven between these parts.

The piece then feeds back into the agitated theme. This time, the rhythms have been altered, and there a tabla solo before the theme is repeated for a second time. The rhythmic technique used in the introduction is again implemented here on the violins, trumpets and horns. Additional percussion, such as the suspended cymbals, tambourine, and triangle, are used to give the piece a sense of movement, and to build up to the ending. The final part of the composition consists of rich string chords with an alternate version of the main theme. The oud plays syncopated rhythms, while different parts of the theme are picked out by the woodwind and brass, to give multiple melodic and rhythmic effects.

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