Text, including the two scores - Columbia University Department of ...

wave drone create a visual figure that is smooth in two dimensions and jagged in the third, over a repeating and shrinking piano phrase, accelerating to the arrival at section 3. 3. In this sparser section, stretched piano samples (triggered simultaneously sine
their acoustic equivalents) are graphed over their fundamental frequencies to create shimmering rings. This is a moment of unity, in which the electronic sound and acoustic sound are nearly the same thing, instead of merely reinforcing one another. These long tones are interrupted by occasional with
piano and electronics hits that foreshadow the next section. 4. The composition shifts to a spectral relation, with the piano playing staccato
frequencies of the sample-based electronics. In this most rhythmically straightforward and stable section, duo I has a tightly synced and ever-shifting sequence, created by simple large-scale polyrhythms (i.e. sample 1 plays every X beats, sample 2 every Y beats, and so on) with the pad prominent
a mix of metallic clanks and GameBoy synthesis . Duo II has longer synth sounds coupled with piano triads; the synth tones overlap polyphonically, yielding pleasingly unruly transitions between stable shapes. 5-7 is a larger section with less obvious internal divisions; section numbers triggering
reflect the point at which I needed to scroll to a new sound bank. Generative piano figures are supported by synth triad hits that accentuate the merely
internal repetition. These synth triads get simpler and sparser with the entry of a bass figure in m. 199. Eventually, one electronic voice begins pulsing on its own, signaling a momentary divergence from its supporting role, but returns to synchronization with sustained piano chords.
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