LOGAN LARSON
cryptic frequencies: movement iii. 27 AMERICAN (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 third movement of Cryptic Frequencies, “27 American”, represents 417 Hz (Sacral Chakra) and is for facilitating change in undoing situations. This frequency is believed to help release negative emotions, past traumas, and blockages in this area, promoting feelings of joy, peace, and connection. This movement focuses more on our past traumas and processing it to be able to heal from it. The EDM genre explored in this movement is Color Bass.
Fixed Media Aural References
Track Begins; 0:00
1: Full drums enter, mood changes; 0:12
2: Change in lead synth timbre, mood changes; 0:25
3: Phrase Entrance For Band; 0:38
4: Risers begins and mood changes; 0:51
5: Kick speeds up; 0:57
6: Drop 1; 1:07
7: Kicks go to four on the floor; 1:20
8: Rehearsal 1 material returns, tension releases, mood changes; 1:32
9: Arp synth enters; 1:45
10: Faster hi-hat rhythms; 1:58
11: Drop 2; 2:14
12: Faster synth rhythm; 2:27
13: Tension releases, mood changes; 2:40
14: Drums exit; 2:52
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
With strength and pride
Vibraphone: Harn Yarn Mallets
Xylophone: Plastic Mallets
With swagger and intensity
With strength and pride
With strength and passion