Garrett Burr Arney - University of Kansas
Johan Bridger - individual
Michael Burritt - Eastman School of Music
Thomas Burritt - University of Texas Austin
Gaël Chabot-Leclerc - 240 Northern Arts Society
Gwendolyn Dease - Michigan State University
Andrew Eldridge - individual
Joel Garza - Western Oregon University
Dave Hall - University of North Texas
JiHye Jung - Vanderbilt University
Ayano Kataoka - University of Massachusetts Amherst |
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Divesh Karamchandani - San Jose State University
Kunihiko Komori - individual
Youngkyoung Lee - Ball State University
Michael Linville - Percussion Consort New World Symphony
Terry Longshore - Southern Oregon University
William Moersch - University of Illinois
Patrick Roulet - Western Washington University
Brady Spitz - Appalachian State University
Svet Stoyanov - Frost School of Music - University of Miami
Chris Whyte - Portland State University |
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1_ “The Fabric of Pulse” (La Trama del Pulso)
The first movement starts with a simple pulse and melodic fragments which combine together into a basic structure. As the piece progresses, the various instruments which played the initial pulse become decoupled from each other unfolding their own pulses. In this way, a polyphony of pulses is created which come in and out of phase with each other. The dramatic structure of this movement is governed by this process where moments of greater tension result form the perception of various pulses conflicting with each other and the resolution of this tension is perceived to take place when these pulses merge back together into the initial simple pulse.
2_”Bells Keep Tolling” (Las Campanas siguen Doblando)
At the beginning of this movement, the simple slow repeated tolling of bells establishes an initial pattern. As the music unfolds, this pattern 'tolls' in various ways, faster or slower, higher or lower in pitch, with greater or lesser intensity and orchestrated in various ways. As melodies appear, they combine and merge with this always changing pattern which nonetheless 'keeps tolling' through the movement.
”Bells Keep Tolling” is loosely basses on the middle movement (“Bells of Time”) of an earlier piece
of mine titled “Relative Riff”.
3_”The Fabric of Form” (La Trama de la Forma)
In this movement I explored a process that the composer György Ligeti called 'micro-polyphony' which features in some of his works from the 1960's such as “Atmospheres” and “Lontano”. These works have a beautiful static quality. I wanted to take Ligeti's micro-polyphony in a different direction. This involved transforming the static nature of the micro-polyphonic texture into rhythmic patters that eventually 'groove' in a clear and recognisable form. I wanted the music in this movement to evolve from a sound world that is texture-like into a sound world of rhythms that are pulsed, immediate and dance-like. And I wanted this process to happen repeatedly throughout the movement, each time unfolding 'the fabric of form' in a different way. The movement starts with apparently formless, dark or obscure patterns, which over a period of time, reconfigure themselves from within to become rhythms familiar to us for having the
dance-like quality of popular music. The interest here lies more in the process of transformation
than in the departure or arrival points. Harmonically, this process moves from initial clusters of different intervallic widths (a third, a forth or a fifth) into modes that are derived or 'carved out' from the notes of the clusters and have a scale like structure. This harmonic transformation accompanies a similar rhythmic
transformation resulting in a fluid and integrated discourse which describes a voyage from
apparent chaos to a well defined rhythmic form.
A.V. September 2024
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