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Makhachkala: The Coup d'Etat at the Streets, Op.4 No.5

Classical/Incidental music • 2006 • Alternative Title: Махачкала: Гостударственный Переворот на Улицах

Makhachkala: The Coup d'Etat at the Streets

Makhachkala: The Coup d'Etat at the Streets, Op.4 No.5: Makhachkala: The Coup d'Etat at the Streets by Antonio Martinez

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PDF, 779.0 Kb ID: SM-000067447 Upload date: 13 May 2011
Piano, Celesta, Violin, Cello, Balalaika, Snare drum, Glockenspiel, Shakuhachi, Ocarina
Scored for
Large ensemble (9 or more players), Big band, Chamber orchestra, Symphonic orchestra
Type of score
Full score
B minor
Antonio Martinez
This piece is a war-tune primarily based on music from Russian, Austrian, Norwegian and American music, set in Makhachkala, the current capital of the Russian republic of Dagestan, located in the Caucasus region.

The premise goes as ordinary citizens from over twenty-five countries amass together to battle againts an extremist hard-line hate group, and the only way to prevent hatred is if unity prevails over hatred.

The opening half of the piece begins in C minor, and incorporated an earlier theme based on a theme featured in a video game from Nintendo 6 system called Goldeneye 007. The Streets theme has some similarities to this theme, as both are robust and share the same marchlike rhythm. As the theme continues from C minor into D minor, the appregio pattern takes the lead, a pattern primarily based on a Franz Josef Haydn sonata (Sonata in C major to be exact). The second half of the piece is modeled after Sergei Lyapunov's Lezginka, which is the main dance of Dagestan.

Patterns will be featured heavily throughout the tune. Among the patterns to note are: the broken parallel fifths descending chromatically in measures 90-92; broken minor thirds descending chromatically in measure 137; another pattern going diatonically downward in measues 145-151; broken parallel fourths ascending chromatically measures 175-176; broken augmented fourths descending chromatically in measures 177-178; a three note pattern in measures 202-204 and ascending chromatically based on a passage from Haydn's Sonata in C major, as well as broken Italian sixth chords in measures 211-213 descending diatonically
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