LOGAN LARSON
cryptic frequencies: movement vi. PRIMTIVE INSTINCTS (2026)
grade 4 concert band and fixed media
Instrumentation
Piccolo, Flute 1 and 2, Oboe, Eb Clarinet, Bb Clarinet 1, 2, and 3, Bass Clarinet, Bassoon, Alto Saxophone 1 and 2, Tenor Saxophone, Baritone Saxophone, Horn in F 1 and 2, Trumpet in Bb 1, 2, and 3, Trombone 1 and 2, Bass Trombone, Euphonium, Tuba, Percussion 1, 2, 3, and 4 and Fixed Media.
Performance Notes
Stereo playback required for the electronic track. The speakers should be in front/the side of the band pointed towards the audience. This will create the correct blend of sound for the audience. If the band is extremely large, the fixed media can also be played through the hall to create a 50/50 blend in the sound, but this should be a secondary option.
For the conductor, the fixed media and concert band should ALWAYS be balanced in a 50/50 split. The band is obviously the thing we should be hearing a little more of but do not lose the backing track in the overall sound, the blend is what makes this different.
Program Notes
The sixth movement of Cryptic Frequencies, “Primitive Instincts”, represents 741 Hz (Throat Chakra) for getting solutions and expressing themselves. This chakra governs communication, self-expression, and truth. It is said to cleanse and purify the voice, promoting clear, communication, creativity, and removing blockages in expressing oneself authentically. In this movement we speak and connect our new and true voice. The EDM genre explored in this movement is Riddim, specifically Square 4 Riddim.
Fixed Media Aural References
Track Begins; 0:00
1: Kick and heavy synth enters; 0:12
2: Vocal synth enters; 0:25
3: Drop 1; 0:38
4: Tension releases, mood changes; 1:04
5: Rehearsal 1 material returns; 1:16
6: Rehearsal 2 material returns; 1:129
7: Drop 2; 1:42
8: Synth rhythm changes; 1:55
9: Rehearsal 7 material returns; 2:08
10: Rehearsal 8 material returns; 2:20
11: Tension releases, mood changes; 2:33
12: Drums exit; 2:46
Cross Cueing
If parts in the score do not meet your ensemble’s instrumentation, please contact Logan Larson directly at LoganTLarson@gmail.com for transposed parts. In case of missing oboe, an alternate oboe part has been written for Bb clarinet. In case of missing bassoon, an alternate oboe part has been written for Bass Clarinet. In case of missing French Horn, an alternate oboe part has been written for Trumpet. In case of missing Euphonium, an alternate oboe part has been written for Trombone. Any other missing instruments cues can be available upon request with substitutes depending on your ensemble’s needs.
Movement of Audience and Additional Components
Movement for a concert band piece being performed in a concert hall might seem to be counterintuitive, with the audience and concert band being seated. While not required for performance, the option of adding interdisciplinary elements is encouraged. Collaborating with a dance department/dancers to further illustrate the story would allow for movement to be integrated in the performance. With the visuals that accompany this work, this can add new opportunities for lighting design and other theatrical components. I’ve had people give the ensemble and audience members glow sticks and even conduct with a glow stick. Even in a concert hall setting, while not common, movement of the audience can be encouraged. Asking the audience to stand and dance is not out of the realm of possibilities. The performance of this work can also be outside of the concert hall and give a less restrictive space for the audience to move and dance.
Cryptic Frequencies
Movement VI. Primitive Instincts
Xylophone: