Down Paths of Darkness
Barry E. Kopetz

Down Paths of Darkness was composed highlighting the dark, thick, rich quality of the key of F minor. This piece is one of the nine selections written by the composer (all published!) as part of a larger Symphony for Young Concert Band. Each of the movements illustrates a scene from the book “The Land of the Lochrians,” and Down Paths of Darkness is reflective of one scene from the lives of the two Lochrian boys, Vlaskis and Quark. The discovery of the purple shooting star down by the Lake of Miramoor and the mysterious circumstances that follow its appearance form the basis of the novel.

The piece, though opening softly in the key of F minor, tends to be dramatic in flavor. Trumpets state the primary theme in unison supported by rich, punctuated chords in the rest of the ensemble. Soaring countermelody is added, adding variety to the distinctive thematic material during the first repetition of the theme. The third section of the melody is much more legato in quality and provides necessary contrast prior to the pounding return of the primary melody. The triplet rhythm is terribly important in achieving the desired dramatic quality to the accompaniment and should be performed in a heavily accented style.

The key centers remain closely tied to the key of F minor throughout the piece, though occasional divergence provides for harmonic interest throughout the work. The interval of the tri-tone is utilized in the transition and the coda, creating both interest and dissonance within the piece. It is carefully orchestrated with the abilities of the young musician in mind so that all such moments sound broad and full. The work ends in bold and energetic fashion, quite a contrast to the soft introduction. Truly, the ending sounds as if one has just traveled down a path of darkness, ending in an accented style in the home key.

Formal Structure

Introduction – a – a1 – b – a2 – transition – c – a3 – Coda

The formal structure of the piece is easily understandable by young musicians. The primary melodic material (a) returns regularly throughout the piece, each time orchestrated slightly differently from its prior appearances. The lyric sections are labeled b and c, and while these portions are played at the same tempo, both are in marked contrast to the dark, punctuation of the primary melody. The coda incorporates both transition material as well as a final unison statement of the primary theme.