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Genome:
Symphony No. 1

(for Band)
Grade 6 (Very Difficult)
Performance Time: ~ 30:00

A symphony for winds and percussion in five movements, Genome was composed with data from the Human Genome Project as source material.

Movement

Listen

View

I. Fanfare
 (7:00)

II. Scherzo
 (5:47)

III. Adagio
 (6:09)

IV. Intermezzo
 (3:05)

V. Finale
 (5:46)

recording credits

Available for sale or rental
Please contact for more details.

Individual movements available

Program Notes
The most important scientific discoveries of the dawning century will no doubt be related to our increased understanding of the human genome. Although 50 years have passed since the discovery of the physical structure of DNA, the complete map of the human genome was completed only a few short years ago.

DNA, or deoxyribonucleic acid, is a molecule, but a fantastically complex one. It is bundled together into 46 individual groups, called chromosomes, and packed into the nucleus of nearly every one of your 10 thousand trillion cells. Each cell contains nearly 6 feet of DNA, which means that the average adult is carrying around more than 12.4 million miles of genetic material. That’s enough to circle the earth 500 times at the equator.

This amazing substance is the written code for building life. Using an alphabet of only four letters, DNA is a coded digital recipe for building proteins. The same alphabet and syntax are shared by all living things. Each of the four letters, called nucleotide bases, is read together in three-letter words called codons. Each codon stands for one of 20 amino acids. These amino acids are combined to create even more complex proteins, and all living things are made of proteins. If the genome is a book, chromosomes are chapters, individual genes are paragraphs, codons are words, and nucleotide bases are letters.

When a complete copy of the human genome was mapped in 2000, I became fascinated with using this data as source material in a musical composition. The virtually limitless supply of non-random data is perfectly suited to providing source material for composition. The fact that these data represent the code for life itself appeals to the artist as well as the scientist.

This first step was to devise a system to convert DNA into musical pitches. A four-letter alphabet is not sufficient for each nucleotide base to represent a pitch. Conversely, the 20 amino acids are too many for each to represent a pitch. The solution lies in the fact that some amino acids are used more frequently than others. The 12 most-common amino acids were arranged in a series and each assigned a musical pitch, and the 8 least-common acids were arranged in a second, incomplete pitch series. The 4 most common acids in series one were reserved for the 4 pitches that are not accessed by the incomplete second series. (See table below). By this method, each of the 20 amino acids has similar odds of selecting one of the 12 musical pitches.

The next step was to download random sections of the human genome, and derive long chains of pitches. I started at random points on each chromosome, encoding musical pitches until enough thematic material existed for a five-movement symphony. Because much of the material was too random to make melodic sense, I ended up encoding about four times more sequences than needed. Allowing myself the freedom to pick and choose interesting sequences, I was able to find melodic passages that naturally implied a harmonic structure. Once the basic themes were decided upon, even more genetic material was encoded for use as small musical interjections, counterpoints, and other musical effects. Although the music was composed freely after this point, a strong preference was reserved for material that was derived directly. At several points during the composition process, I went back for more data when it became clear that a melodic passage of a certain shape or character was needed.

In its final form, this work for winds and percussion is very loosely based on the formal structures of some of my favorite symphonies. Genome: Symphony No. 1 for band was commissioned by Dr. Joseph Scagnoli and The Ball State University Wind Ensemble. The commission and premier performance were part of the celebration of the new Sursa Performance Hall on the Ball State University Campus.

Table of Codon to Pitch Conversion

Codon

Amino Acid

Pitch Series

Pitch

GCA

Alanine

1

A

GCC

Alanine

1

A

GCG

Alanine

1

A

GCT

Alanine

1

A

AGA

Arginine

1

B

AGG

Arginine

1

B

CGA

Arginine

1

B

CGC

Arginine

1

B

CGG

Arginine

1

B

CGT

Arginine

1

B

AAC

Asparagine

2

G

AAT

Asparagine

2

G

GAC

Aspartic acid

2

A

GAT

Aspartic acid

2

A

TGC

Cysteine

2

B

TGT

Cysteine

2

B

GAA

Glutamic acid

2

B

GAG

Glutamic acid

2

B

CAA

Glutamine

1

B

CAG

Glutamine

1

B

GGA

Glycine

1

C

GGC

Glycine

1

C

GGG

Glycine

1

C

GGT

Glycine

1

C

CAC

Histidine

1

D

CAT

Histidine

1

D

ATA

Isoleucine

1

D

ATC

Isoleucine

1

D

ATT

Isoleucine

1

D

CTA

Leucine

1

E

CTC

Leucine

1

E

CTG

Leucine

1

E

CTT

Leucine

1

E

TTA

Leucine

1

E

TTG

Leucine

1

E

AAA

Lysine

1

E

AAG

Lysine

2

E

ATG

Methionine*

2

C

TTC

Phenylalanine

2

D

TTT

Phenylalanine

2

D

CCA

Proline

1

F

CCC

Proline

1

F

CCG

Proline

1

F

CCT

Proline

1

F

AGC

Serine

1

G

AGT

Serine

1

G

TCA

Serine

1

G

TCC

Serine

1

G

TCG

Serine

1

G

TCT

Serine

1

G

ACA

Threonine

1

G

ACC

Threonine

1

G

ACG

Threonine

1

G

ACT

Threonine

1

G

TGG

Tryptophan

2

E

TAC

Tyrosine

2

F

TAT

Tyrosine

2

F

GTA

Valine

1

A

GTC

Valine

1

A

GTG

Valine

1

A

GTT

Valine

1

A

TAA

STOP

x

x

TAG

STOP

x

x

TGA

STOP

x

x

* When within a sequence.
When ATG is at the start of a gene, it means "begin encoding."

Want to learn more about the Human Genome Project?

View recommended reading.

 

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