Scores
Scores are available directly from composer. Order below.
R
3R
3R for solo cello is set in 3 discrete regions. A single 12-note fixed-pitch set is used throughout the piece. (Two very brief transpositions occur in the first and third regions.) Region I is organized by five separate tempos in the form of a measured accelerando. Divided into two parts, each section begins with a long, single, sustained pitch. The function of Region I within 3R is twofold. First, it introduces, one at a time, the notes of the fixed-pitch set. More importantly however, the slow introduction outlines the region’s internal boundaries in the form of time blocks, which are developed and assembled as individual lines, or in layers.
The closing bars of Region I metrically elide into Region 2, also organized by a series related tempo changes. The work’s central area, characterized by block chords, explores the harmonic relationships within the fixed-pitch set. The intervallic juxtapositions between notes are cast in vertical groupings of 2, 3, and 4 notes, freely mixed in a variety of durations.
The closing bars of Region 2 metrically elide into Region 3, divided by tempo into two subsections. The concluding area of the piece is organized by linear pitch blocks of varying duration, occurring in rapid succession with periodic alterations in tempo. As the internal concentration within the blocks increases, they build and accumulate before finally dispersing into the work’s concluding, sustained chords.
3R Structural Design by Tempo (All Metronome Values are at the Quarter Note)
Region I
52 – 54 – 57.5 – 63 – 70
Region II
70 – 78.5 – 92 – 108 – 59.5
Region III
59.5 – 45
2R
2R is formally organized into two broad regions dividing the piece into two approximately equal halves. Region I is temporally centered around a quarter note pulse of 86. Region II is centered around a quarter note pulse of 72. Throughout 2R, the two base tempos and mode of attack tempos are intermingled, frequently interrupted by sporadic, metric subdivisions which emerge as a temporal sub-structure. The differing sections are fractured into layers and juxtaposed with increasing irregularity. Oppositional segments assimilate into contrapuntal time blocks where they cease to follow any discernable linear course, creating a friction in the time-flow of the piece. In the central section of the second region the individual segments begin to unravel, and the time polyphony disperse. 2R closes with a final distillation of these disparate elements into a single musical unity expressed in the concluding lines of the piece.