PROGRAM NOTE

Forbidden Alchemy (2013 "Understanding this Dark Magic” / 2021, retitled to "Forbidden Alchemy”) is a programmatic work inspired by the TV show Fullmetal Alchemist: the story of two young alchemist who go too far in their pursuit to bring their mom back from the dead and to push their alchemy (or “magic”) to their limits. The work begins with a set of curious and aggressive gestures that signify as a warning that further danger and more intense material lay beyond the work. Our brave musicians get sucked into an ambiguous B-like section where the beat is constantly being thrashed around because of meter rapidly changing (6/8 to 3/4, 6/8 to 7/8, 4/4 to 12/8 to 7/8 to 2/4, and so on). We can hear the B-section “theme” as a plea to turn back and abandon this madness but is constantly being pulled downward. Constantly being dragged further and further down this spiraling madness, the saxophonist rips through the madness, ascending from the anarchy…. Only to find that the madness continues onward with an A’ section. Our musicians are worn down to the very end, fighting to keep going. As soon as it feels like it is over, both musicians ascend, going on their previous limits. However, it is not enough…. Their demand exceeded their supply….
”Humankind cannot gain anything without first giving something in return. To obtain, something of equal value must be lost.” - Edward Elric, Fullmetal Alchemist

This is my first serious work that I attempted my freshman year at Stephen F. Austin State University. To say that it was written perfectly or written idiomatically is a far cry from reality (to this day, I still have my questions and concerns). I can’t say this on behalf of everyone but I, for one, was definitely not comfortable with writing this piece and then presenting this to the world. Not only was I writing for instruments that I knew almost nothing about, I was told to write this piece as a 100% octatonic piece - a scale compromised of alternating between whole to half steps or vice versa - which I obviously didn’t do for portions of the work. I was also told to write this work in an ABA’ form … it’s clearly some ambiguous ABA’C form.

During the pandemic, I revisited a lot of my pieces, taking all of that lockdown/quarantine time to do what I’ve been neglecting to do for years. With finishing up my master’s thesis, starting a new educational-career change into digital marketing and data analytics; what was going to be a daunting task became a fun treat to do. I didn’t have to think about what new material to write, what to learn, or even stress over because it was an academic grade. And out of all the works I revisited: editing and rewriting Understanding this Dark Magic has been my pride and joy during the pandemic.
There are multiple versions of this piece with different titles:
1. Playing with Dark Magic for Bass Clarinet & Marimba
2. Forbidden Alchemy for B-flat Clarinet, Violin (or Viola) and Piano
Why the name changes? Personally, each piece felt like it’s own individual work: new voicings, new techniques, chordal changes (similar but not the same), and different instruments.