Originally composed for euphonium and trombone quartet, Funk Theory became an instant success following its première in 2003, featuring the all female Bones Apart trombone quartet and David Childs. The music is based on two simple chord sequences; the first is heard in the first 7 bars and the second is an 8 bar sequence heard throughout the piece. The melody continually varies and develops becoming increasingly busy and difficult. It could almost be considered a small set of ‘funk’ variations. Funk Theory is great fun to play and creates a little ‘light relief’ during any concert. This version is with piano and or CD accompaniment.
Duration: c. 4.5 minutes
About the music... Having enjoyed many of Peter Meechan’s early works for brass I commissioned Peter to compose a new work, for solo euphonium and trombone quartet, during the summer of 2003. Although composed for on unusual combination of instruments, the work became an instant success following its premiere on 7th October 2003, featuring the’all female ‘Bones Apart’ trombone quartet and myself in Manchester’s RNCM Concert Hall. It was obvious from the outset that the unusual instiumentation of the accompaniment would make Funk Theory difficult to programme, whidh is why the composer also produced versions for solo euphonium with piano or CD accompaniment presented here in this publication.
The music is based on two simple chord sequences - the first is heard in the initial 7 bars and the second is an eight bar sequence heard throughout the piece. The melody continually varies and develops becoming increasingly busy and difficult. To this extent, it could almost be seen as a small set of ‘funk’ variations.
Funk Theory has been performed in its various forms by euphonium soloists throughout the world. It is great fun to play and creates a little ‘light relief’ within any recital programme. Funk Theory is also available in this series with trombone quartet accompaniment.
Performance tips... I have found the composer’s CD accompaniment, provided with this, piano reduction, works particularly well and truly captures the essence of the music. However, in perforrnance it is important to ensure the correct balance is achieved between the pre-recorded accompaniment and the soloist prior to any public performance. A poor balance will detract and can result in the performance becoming difficult for both soloist and audience.
The composer’s skillfully crafted piano reduction also works extremely well, but it is important for both soloist and accompanist to pay particular care to ensemble when tackling the rhythmic complexities present throughout the work. For any adventurous musicians out there, it can be effective to combine both the CD and piano accompaniments. If this is attempted it is sensible to allow the CD to begin the work with the piano joining at bar 106- Good luck!
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