Metamagical Themas for flute, violin, cello, and piano (2004)
Excerpt of a performance by: | Movement I Movement II Movement III |
Performance History |
The impetus of this work is one of multiple processes of accumulation and subsequent dissolution of materials. These processes control the pitch material, rhythm, and form. Pitch Material The pitch material of the work is primarily based on one of the two all-interval tetrachords [0146]. This tetrachord provides an interesting palette of possibilities for structure at both local and large-scale levels: partitioning the tetrachord into disjunct dyads {[01], [02]} {[04], [05]} {[06], [03]} ; deriving trichordal subsets with two pitch-classes in common {6,7,T} U {6,T,0} = {6,7,T,0} = [0146] which yields {[014], [016]} {[014], [026]} {[014], [024]} {[024], [026]}. The accumulation and dissolution processes mentioned above govern much of the pitch material. In some areas of the piece, the accumulation process begins with the articulation of several [01] dyads related by either T4 or T6. Gradually through rhythm, timbre, register, and articulation these dyads begin to associate with the first pitch-class of the following dyad, thus creating intersecting [014] and [016] trichords. Eventually these trichords begin to have first one, and then two pitch-classes in common with one another, until the end result is a preponderance of [0146] tetrachords. Dissolution results from reversing this process. Rhythmic and Formal Structure The rhythmic structure of the piece is derived from a preconceived set of attack-points. This set, increasing in density from beginning to end, exhibits a small-scale version of the accumulation process while its retrograde exhibits dissolution. Other operations– inversion, augmentation, and diminution, as well as a “filtering” process in which attack-points are systematically removed to create a thinner texture–provide further variation. The set of attack-points, along with the sets resulting from the operations mentioned above, control both local rhythms and the large-scale form of the individual movements. For example, in many areas of the piece a “filtered” form of the attack-point set is stated, followed by the original set. As with the pitch material mentioned above, this constitutes the accumulation process while dissolution results from reversing this process. The Role of Timbre and Articulation In this composition, timbre and articulation reinforce aspects of the accumulation and dissolution processes, and create a correspondence with pitch and rhythmic structure. For example, in the strings a sul ponticello timbre may progress to an ordinario timbre while the pitch material moves through an accumulation process. Relationship of Pitch to Rhythm and Form The use of similar processes of accumulation and dissolution in the realms of pitch, rhythm, and form provides a rigorous correlation between these elements. Each realm of the piece (pitch, rhythm, etc.) progresses through accumulation and dissolution processes at its own rate. In this way, multiple processes are interacting simultaneously. Key structural points are articulated where the processes become synchronized, for example at points in the music where the pitch structure and the set of attack-points reach the peak of the accumulation process. |
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Metamagical Themas Registered with ASCAP |
