… When Full Moon’s Light

Barry E. Kopetz

… When Full Moon’s Light is the next in the series of musical selections that pertains to the mystical kingdom of Lochria. The appearance of the double moons over the Lake of Miramoor holds special meaning for those residing in the Lochrian Kingdom. While there is little of which to be fearful when the two moons are in view, it is only when the two moons reflect off of the waters of the Lake of Miramoor that strange events seem to occur.

The two boy Lochs, Vlaskis and Quark, and their two friends, Penny and Illyria, have become entangled in a mystery beyond their immediate comprehension, and the appearance of the double moons has set them upon a path of discovery that has led them to return to the waters of the lake. It is only “when full moon’s light” shines upon the waters before them that they begin to unlock some of the mysteries of the dark waters before them.

The music opens with “dark and brooding” images, reflective of the mysterious nature of the still waters of the Lake of Miramoor. The melody transforms abruptly at measure 11, where the impact of a forceful g minor triad sets the tone of the remainder of the piece. All accented chords should receive similar treatment, approaching the level of a sforzando for maximum effect. The incessant ostinato should be steady without being predominant, as the tension of the melodic line must be allowed to project freely. Observation of the subito dynamic changes will greatly enhance the performance of the piece. It is recommended that the unison melodic line that begins at m. 33 should be carefully rehearsed so that all low reeds and low brass perform articulation style in a uniform manner. The final measures of the piece should have the sensation of someone being chased, a dark force right upon their heels. The music should conclude in a breathtaking whirl of energy.

The use of the key of g minor is most important in establishing the dark and mysterious mood of “… When Full Moon’s Light.” It will be useful to the conductor to spend ample time warming up the ensemble in this key, being careful to draw the parallels to the sister key of Bb Major. Students should develop a visual sense of what the differences between the two keys are, and an explanation to the young musicians as to why the concert F# appears in measure 36 is in order (Hint: It is necessary in order to have a true V chord in the key of g minor). Without the raised leading tone, the key becomes modal, and this too would be a worthy topic for the director to discuss.

One final note: the opening uses concert Gb (enharmonic of F#) for a completely different reason. In this case, its appearance is based completely on the notion that when played simultaneously with a concert F that the resultant dissonance creates extreme tension. And that is the goal of the opening of the piece; to have maximum dissonance within the music. After all, the introduction represents the darkness and the Moon light over the Lake of Miramoor.