This recording is from the orchestral release. The jazz orchestra version follows the same form and style, with adjustments for instrumentation and orchestration.
Justin says: Sometimes it feels as though we are tracing back over the same challenges—Loren sometimes learns and then forgets. This is not about autism, it is about other issues that he has, but it adds to the complexity of language development. Loren also enjoys the sensation of spinning in his therapy swing, and so it seems circles can be a recurring theme for our family.
Approx. 6 min; this is the sixth variation of All Without Words. From the orchestral version:
In variation 6, the constant pulse—played first by clarinet and violins—is the constant tracing of the footsteps. The melody is based on the second half of Loren’s theme, and develops freely from there, recycling the same motive in various ways. The challenge with performing this movement is creating a large-scale arc from the beginning to the end of the movement. Gestures in the orchestra are long, and Romantic-feeling, and should blossom out of the footstep pulse. Flute and soprano saxophone are both featured in short but intricate passages near the end of the movement. The “circle game” in the title is reflected in the harmonic progression which, at the end, mirrors the opening in retrograde.
This jazz orchestra version should maintain as much of the orchestral mood as possible. Many of the textures have been modified and adapted for winds and brass, but the effect should be the same.
Instrumentation: [5, 4, 4, 4, plus soloist] This movement requires: soprano saxophone, alto doubling flute, tenor 1, tenor 2 doubling B-flat clarinet, and baritone doubling bass clarinet, with trumpets 3 & 4 doubling flugelhorn.
