TWO | 2020
ca. 6'
For Haven, a bandsemble (fl, cl, e. gtr, vn, vc, db)
For Erin Heidrick, violin (https://erinheidrick.com/)
The title TWO speaks directly of the two contrasting musical ideas in this work. The first, a texture-based cloud of sound, has no melody at all but simply drifts in and out of different harmonies. The second, a clear melodic idea, is bereft of true vertical harmony but creates harmony primarily through the interaction of multiple melodic lines (i.e. counterpoint).
Throughout TWO these texture-based and melody-based ideas alternate, becoming more like the other on each occurrence. You will notice that each time that first pulsing material comes back it is more melodic, either through the shaping of the patterns that create the texture, or by the addition of an actual melody. The only exception to this form is the addition of a second melodic idea, introduced in the middle of the piece by the solo violin. The piece ends with the ultimate expression of the first melodic idea, a strict four-part canon on a variation of the first melody that is then played backward. This canon is accompanied by vestiges of the texture-based idea in the flute and double bass to provide synthesis and closure to the piece.
Learn more about what a bandsemble is on Erin's FB page, Bandsembling: https://www.facebook.com/bandsembling/
For Haven, a bandsemble (fl, cl, e. gtr, vn, vc, db)
For Erin Heidrick, violin (https://erinheidrick.com/)
The title TWO speaks directly of the two contrasting musical ideas in this work. The first, a texture-based cloud of sound, has no melody at all but simply drifts in and out of different harmonies. The second, a clear melodic idea, is bereft of true vertical harmony but creates harmony primarily through the interaction of multiple melodic lines (i.e. counterpoint).
Throughout TWO these texture-based and melody-based ideas alternate, becoming more like the other on each occurrence. You will notice that each time that first pulsing material comes back it is more melodic, either through the shaping of the patterns that create the texture, or by the addition of an actual melody. The only exception to this form is the addition of a second melodic idea, introduced in the middle of the piece by the solo violin. The piece ends with the ultimate expression of the first melodic idea, a strict four-part canon on a variation of the first melody that is then played backward. This canon is accompanied by vestiges of the texture-based idea in the flute and double bass to provide synthesis and closure to the piece.
Learn more about what a bandsemble is on Erin's FB page, Bandsembling: https://www.facebook.com/bandsembling/
