roottriada.blogg.se - Finale 2014.5 piano glissando

Machinations is an indirect musical reflection on these thoughts. If you look hard enough, though, there is beauty to be found in the dissonance of our short existence in this vast universe. Humans have invented this miraculous technology that can hold astronomically large amounts of data, but it still is finite it still will someday die. Someday all of our stories will disappear. Furthermore, these servers won’t last forever. The network of computer servers that make up the Internet have made sharing our stories easier, but we’ve become overwhelmed by the sheer number of stories out there. Out of the billions of humans that have ever lived on this earth, perhaps a handful are remembered at all. We all try to leave our marks, but it seems that few of us succeed. Today technology aims to improve and extend our lives, but nothing so far has been able to suspend our inevitable deaths.

gigue - a more constrained and celebratory dance.

passacaglia - a solemn, mystical ceremony is observed.

horo - an adolescent performs a rabid, suggestive dance.

prelude - a beastly infant learns to walk before falling asleep.

I treated the composition as essentially a trio between the flute, percussive electronic sounds, and tonal electronic sounds, each of which takes the forefront at various points, but with the flautist clearly acting as a bandleader of sorts. With a missed deadline behind me, the piece was finally eventually written in an outpouring of creative energy to finally reveal what the piece wanted and needed to be: four eclectic little cybernetic beasts for flute and electronics.ĭespite making extensive use of the microtonal capabilities of the Kingma flute and glissando headjoint, the harmonic language of the suite is largely tonally derived, but embodied in a very loose fashion.

Attempting to force the music out was not bearing any satisfying fruit. The following months (late 2016 leading into early 2017) turned out to be far more tumultuous than I anticipated- personally, politically, and otherwise. This opportunity was a dream come true, and I leapt at it with great enthusiasm. The genesis for Specimens came through a serendipitous Twitter connection, the details of which I no longer recall, but the end result is that I ended up responding to Rachel Hacker’s open call for new pieces for Kingma System® flute, optionally with glissando headjoint.