From the 30 Sept 2018 Annapolis Chamber Players "Lyric Convergence" Concert. John Leupold composed “2,3,7” in 2017. The influence of triangles is found in the layers of (2,3,7) from the set-up of the ensemble down to portions of the thematic material. The title is an important triangle group used in the theory of Riemann surfaces. While the piece itself does not directly relate to this, the three numbers, 2, 3, and 7, are very important to the piece. Conceived in two parts. The first is fast and dominated by the 7/8 time signature split into 2+2+3 (often notated as / / △). The second is slow and lyrical and flows into a perceived third section in listening. This portion features a steady accelerando back to the original tempo. As it speeds up, the 7/8 features of the opening intertwine themselves and take over the texture of the work. Melodically, this work relies primarily on the dorian mode. Specifically, F dorian, which is a scale from F to F that uses the key signature of Eb Major. The resulting scale sounds similar to an f minor scale, but with a raised 6th note of the scale. Occasionally, the piece does hint at other home pitches, but always returns quickly to F.
