Grammy nominee Marie A. Douglas (b. 1987) is a composer of genre-bending works for diverse media, from electronic pieces to chamber works and large ensemble compositions that often feature electronic elements. Originally from Atlanta, she studied French horn and composition at Florida A&M University, where she was a member of the Marching “100” Band. She has pursued graduate studies at Full Sail University, Southern Utah University, and currently doctoral studies in composition at the University of Memphis. Her music has been performed throughout the United States and Canada. She often draws on her inner-city Atlanta roots in her music, with allusions to hip-hop and trap music blended with Western tradition. She has her own website, and is featured on the Wind Repertory Project and Southern Utah University.
Douglas writes the following of 2021’s Big City Lights (I have added links):
Big City Lights is a piece for wind band, inspired by the hip-hop subgenre “trap music”, which finds its roots in the composer’s home town, Atlanta, Georgia. The atonal piece has an electronic accompaniment aspect as well. There are musical elements that are meant to imitate techniques which are commonly utilized during the production of music within the genre. For example, in general the timpani performs what are intended to be “808s,” while the tuba is often performing lines that would be reserved for synthesized bass; the combination creates an often utilized distortion technique.
Other production tactics travel through the ensemble as well. Certain aspects of the orchestration are imitating automation, which place sound exclusively in different spots of the ensemble (specifically on the left or right of the conductor) Sudden and gradual ensemble crescendos are dovetailing of melodies imitate low and high pass filters and volume knobs. Additionally, the piece aims to give the performers and audience a peek into a day in the life of an Atlanta resident.
The piece begins with the high-paced “It’s Lit!” section which includes fortissimo exclamations occurring throughout the ensemble, demonstrating the hustle and bustle of the famed Atlanta traffic. The traffic sounds perform a trio with the clarinets and marimba, who depict a sense of “hurry and wait” as they endure the Atlanta traffic scene. The “Issa Vibe” section is much slower and intends to depict a night out on the town with friends, enjoying the city lights and the slightly slower paced environment.
For a short period, we return to “It’s Lit!”, followed by “Chopped and Screwed,” which is a halftime recapitulation of the main themes. “Chopped and Screwed” is a famous DJ style which a song is slowed down tremendously. The piece closes out with one final return to the original marking of “It’s Lit!” Enjoy a day in the life of an “AtLien” with Big City Lights!
Here is Big City Lights performed live (follow along with the score here):
See more about the piece at Douglas’s website, Murphy Music Press, J. W. Pepper, and the Wind Repertory Project. Also be sure to check out this fantastic educational video about trap music, where it came from, and how it’s put together. Spoilers, it came from Atlanta in the 90s and early 2000s, and perhaps its most recognizable feature is fast hi-hat rhythms: