Critical Error is a symphony for a large wind band, written in my residency with Dr. Jamal Duncan and the Arizona State University Wind Symphony. It took almost a full year to complete, but this piece has existed as a concept far before I began writing it. As a full-time student, it can be quite difficult to find the time to engage in larger projects. The composer-in-residence position was the perfect outlet to finally make this piece happen. Much to my excitement, it has allowed me to be as ambitious as necessary to let this piece reach its full potential.

Critical Error is inspired by digital technology and cyberpunk themes. The titles of the piece and the movements are references to computer terminology. In addition, each of the movements is an homage to different genres of electronic dance music (EDM), as is common with my music. My EDM-heavy musical style is distinctly audible here. A combination of several EDM tropes and contemporary techniques contribute to the digital, futuristic quality. The piece takes inspiration from soundtracks of media that share a similar setting, such as Portal, Cyberpunk 2077, and Tron: Legacy. The piece was also written with a vague story in mind; the audience members can place themselves in the position of a character who is a citizen of a large, cyberpunk city.

The first movement, entitled System Restart, is the exposition. It introduces the scene in a glorious swell of sound using the EDM genre of Liquid Drum & Bass. The overall movement depicts the process of a computer restarting by using emulations of familiar computer-like sounds and very short, repeated melodic motifs. The grand, lively music of the symphony’s first movement will leave audiences curious and invigorated.

The second movement, entitled Float, serves as the conflict of the story. Utilizing a chill, lo-fi inspired beat, it depicts the empty streets and barren sidewalks of a city at night illuminated by streetlamps and neon signs. In programming, a float is a variable number that contains an indeterminate number of decimal places. During this movement, the character is shown in hardship, unsure if he or she can stay afloat. A jazz-like texture and a continued exploration of modern techniques evoke a vinyl record aesthetic and provide it with its strong resemblance to chill Lo-Fi Hip Hop.

The third movement, entitled Overclock, is a rising action building towards the final movement and is a musical depiction of the core or central processor of the city. Here, the character is portrayed resorting to an illegal method of lucre. Overclocking is the term for when a computer processor is running faster than its intended speed. The title reflects this movement’s intimidating setting and its vague, occasional clock-like nature. The loud, relentless third movement was written in the style of Big Room, a microgenre of Electro House. It features emulations of many different synthesizer sounds and a Daft Punk-inspired middle section.

The fourth and final movement, entitled Fatal Exception, takes inspiration from Hardcore Techno and is the climax of the piece. It depicts a fast, frantic flight across the world, during which it journeys through many different settings and areas of the city. The title was chosen to highlight the conclusive and disastrous character of the music. The movement is in a high state of tension throughout, and finally the piece ends abruptly, as if it has been shut down. As the first movement was an introduction to the world, the final movement is a bid farewell to it, as well as my farewell to composing this piece. It was a truly pleasurable and gratifying experience, and I hope musicians can continue to enjoy Critical Error far in the future.