SKU: ST.H438
ISBN 9790220219054.
Rhian Samuel is a co-editor of the Grove Dictionary of Women Composers and herself a composer of highly acclaimed instrumental and vocal works, including Daughter's Letters, premiered in 1996 by Sinfonia 21. She wrote Dream-Images in memory of her teacher, Andrew Byrne. Two interludes separate the three 'images', each of which is rhapsodic in mood. The last, Weeping Trellises, refers to the gentle, drooping blooms of the wisteria plant, and, emotionally, to feelings of inevitability and loss. Dream-Images was first performed by Martin Roscoe at the Machynlleth Festival in August 1997.
Rhia n Samuel is a co-editor of the Grove Dictionary of Women Composers and herself a composer of highly acclaimed instrumental and vocal works, including Daughter's Letters, premiered in 1996 by Sinfonia 21. She wrote Dream-Images in memory of her teacher, Andrew Byrne. Two interludes separate the three 'images', each of which is rhapsodic in mood. The last, Weeping Trellises, refers to the gentle, drooping blooms of the wisteria plant, and, emotionally, to feelings of inevitability and loss. Dream-Images was first performed by Martin Roscoe at the Machynlleth Festival in August 1997.
SKU: HL.331976
ISBN 9781423436980. UPC: 884088236311. 10.0x10.0x1.386 inches. Tom Wheeler Foreword by Billy F Gibbons.
This third in a series of hardcover books joins the award-winning titles The Stratocaster Chronicles and The Soul of Tone by author/historian Tom Wheeler. In nearly 600 pages, The Dream Factory features hundreds of full-color photos of incredibly rare, collectible, and limited-edition handcrafted guitars. Learn how the Fender Custom Shop, originally intended to employ just two master craftsmen, grew into the most prolific custom instrument shop in the music industry. Features: * Foreword by Billy F Gibbons * More than 630 images illustrating the first master builders and their humble beginnings through the many changes up to present-day operations. Includes many one-of-a-kind custom guitar masterpieces and reproductions of acclaimed guitarists' instruments, such as Eric Clapton's Blackie, Jimi Hendrix's Monterey Strat, Stevie Ray Vaughan's No. 1, and many more. A must-have for all guitar enthusiasts! * Unprecedented view inside one of the music industry's most creative custom instrument shops, revealing how playable works of art are created * Fascinating interviews with the shop's founders, most of the first-generation Master Builders, all of the current Master Builders, other key craftspeople, sales representatives, artists' guitar techs, marketers, executives, guitarists, and many of the graphic artists, woodcarvers, jewelers, pinstripers, graffiti artists, pearl-inlay specialists, and others who have partnered with the Master Builders to create art works of stunning beauty.
SKU: PR.11642166L
UPC: 680160691975.
Dream s I Must Not Speak emerged from a cathartic attempt to realize, in music, three dreams I experience during sleep with noticeable regularity. These are not nightmares nor are they pleasant images, but rather odd and somewhat psychedelic scenes that have remained distinct in my awakened conscience over the years. These three tableaux are presented here without pause. It does not make sense for me to deem this an autobiographical work like a memoir or entries in a diary. These are more like etchings on the shadowy wall of one’s private existence. ~CP.
SKU: PR.11642166S
UPC: 680160691968.
SKU: FP.FBS02
ISBN 9790570500192.
Sara h Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.All this experience has come together in the creation of this first published album of piano pieces, inspired by the sounds heard at night from the woodland just beyond Sarah’s childhood home.Suitable for players of around grade 4-5 standard, her evocative sound pieces begin at the tranquillity of dusk and end with the exuberant dawn chorus.The composer writes:'I grew up with woods behind my house, and the nocturnal noises and images that I remember were the inspiration for these eight short sound pictures on the theme of night. The music moves first from the tranquility of dusk and evening mists, to the emerging starlight of twilight. As night falls it takes on on a darker quality with shadows and dreams disturbing peace and calm.The night birds and bats swoop and flit past as they seek their prey, but gradually dawn approaches and peaceful sleep is restored. The morning is heralded in the joyful exuberance of the dawn chorus.'.
SKU: BT.DHP-1165693-401
ISBN 9789043150057. English-German-French-Dut ch.
The poetry of the sound of the horn evokes dreamlike images of the grand blue southern seas…. The composer Pascal Proust has many years’ experience as a musician and music teacher. His output includes several hundred compositions for the most diverse instrumentations. He wrote Moorea for horn players at the level of approximately one year’s study and paid special attention to an easy-to-follow, attractive musical style. As a result, Moorea is an ideal performance or competition work for young musicians.De poëzie van de klank van de hoorn roept droombeelden op van het glorieuze blauw van zuidelijke zeeën…. De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef Moorea voor hoornisten die ongeveer een jaar les hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is Moorea een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.Der poetische Klang des Horns regt zum Träumen von der großen blauen Südsee an… Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen; sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schrieb Moorea für Hornisten mit ungefähr einem Jahr Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich Moorea ideal als Vortrags- und Wettbewerbsstück für junge Musiker.La poésie du son du cor incite la rêverie, face au grand bleu des mers du sud…. Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique ; son catalogue d’oeuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Moorea pour cornistes ayant environ une année de pratique, dans un style musical accessible et coloré. De ce fait, Moorea est la pièce idéale pour tout examen ou audition de jeunes musiciens.
SKU: CL.032-2397-01
From the Images album by the hot LA Group FREEWAY, Andy Clark has skillfully arranged Max Bennett’s wonderful tune for full jazz ensemble while capturing all of the unique and subtle qualities that have made this tune so popular. Features Alto Sax and is an excellent choice for medium level bands who are looking for a really special chart.
SKU: CL.032-2397-00
SKU: YM.GTP01100247
ISBN 9784636101744. 8.5 x 12 inches.
The music rhythm game DEEMO II was released simultaneously around the world on January 2022, and in February, the piano arrangement CD album DEEMO II Piano Collection was released. Now comes the CD's complete matching score collection! Continuing from the previous work, the arrangements are done by Tomoko Asaka, a pianist and composer who is also active as the piano YouTuber Asapi. In addition to the magnificent song Away from the rain arranged for piano duet (1 piano 4 hands), you can also experience the excitement of the beautiful images and music with your own piano performance! Check out more DEEMO sheet music in the same series!
SKU: CF.YAS211
ISBN 9781491160459. UPC: 680160919048.
This Grade 2 original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that burn steadily as long ago even as the world changed below. The lyrical melody provides developing players opportunities to work on tone, slurs, and expressive playing with one easy key change from D major to G major. A shift from major to minor tonality reflects the bittersweet stanzas that lament the loss of youthful dreams amidst the turmoil of life, even while admiring the faithful beauty of the celestial constellations. The dreamy piece evokes images of shimmering stars in the cold December night, with shadows shaken on the snow, offering a tranquil winter concert selection.This Grade 2 original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that “burn steadily as long ago†even as the world changed below. The lyrical melody provides developing players opportunities to work on tone, slurs, and expressive playing with one easy key change from D major to G major. A shift from major to minor tonality reflects the bittersweet stanzas that lament the loss of youthful dreams amidst the turmoil of life, even while admiring the “faithful beauty†of the celestial constellations. The dreamy piece evokes images of shimmering stars in the cold December night, with “shadows shaken on the snowâ€, offering a tranquil winter concert selection.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS211F
ISBN 9781491160718. UPC: 680160919314.
This grade 2 original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that burn steadily as long ago even as the world changed below. The lyrical melody provides developing players opportunities to work on tone, slurs, and expressive playing with one easy key change from D major to G major. A shift from major to minor tonality reflects the bittersweet stanzas that lament the loss of youthful dreams amidst the turmoil of life, even while admiring the faithful beauty of the celestial constellations. The dreamy piece evokes images of shimmering stars in the cold December night, with shadows shaken on the snow, offering a tranquil winter concert selection.This grade 2 original work was inspired by the tender poem of the same name by Sara Teasdale. Gentle phrases capture the wistful hope the poet felt as she contemplated the steadfast stars that “burn steadily as long ago†even as the world changed below. The lyrical melody provides developing players opportunities to work on tone, slurs, and expressive playing with one easy key change from D major to G major. A shift from major to minor tonality reflects the bittersweet stanzas that lament the loss of youthful dreams amidst the turmoil of life, even while admiring the “faithful beauty†of the celestial constellations. The dreamy piece evokes images of shimmering stars in the cold December night, with “shadows shaken on the snow,†offering a tranquil winter concert selection.
SKU: PR.144402290
UPC: 680160027316.
The theme that opens my Fantasy-Variations permeates the harmonic and melodic life of the 24 short episodes and coda that follow. However, in a few sections the relationships with the theme are more hidden than explicit; the fanciful connections between these portions and the opening theme suggested the work's hybrid title. Yet even in these more wide-ranging variations the opening theme is usually still hovering nearby, often as a quiet presence contrasting with more animated gestures. The piece may be understood as a kind of dream journal: a chain of brief entries that seem to vary greatly, yet rotate about a fixed constellation of types and obsessions, speaking a language of images at once logical and impossible, familiar and mysterious. I wrote the Fantasy-Variations for the Leonardo trio in 1991 with the support of a National Endowment for the Arts Fellowship in composition.The theme that opens my Fantasy-Variations permeates the harmonic and melodic life of the 24 short episodes and coda that follow. However, in a few sections the relationships with the theme are more hidden than explicit; the fanciful connections between these portions and the opening theme suggested the work’s hybrid title. Yet even in these more wide-ranging variations the opening theme is usually still hovering nearby, often as a quiet presence contrasting with more animated gestures.The piece may be understood as a kind of dream journal: a chain of brief entries that seem to vary greatly, yet rotate about a fixed constellation of types and obsessions, speaking a language of images at once logical and impossible, familiar and mysterious.I wrote the Fantasy-Variations for the Leonardo trio in 1991 with the support of a National Endowment for the Arts Fellowship in composition.
SKU: CF.CAS102
ISBN 9781491146620. UPC: 680160904129. 9 x 12 inches. Key: A minor.
Blindsight is the ability of certain blind people to respond to visual stimuli or can be used to describe the ability of people who lose their sight to still form images when they dream. This piece, Blindsighted, contrasts an intensely rhythmic ostinato with freer lyrical material creating rich textures that will both teach and inspire.Blindsight is the ability of some people who are blind to respond to visual stimuli that they cannot consciously see, for instance to accurately track motion . It also is used to describe the ability of people who lose their sight to still form images when they dream .Musically, Blindsighted contrasts an intensely rhythmic ostinato with freer lyrical material . This contrast in textures should be highlighted to create rich contrasts between rhythm and lyricism . The middle section at m . 67 should sing freely and should contrast with the rhythmic drive that surrounds it . Measures 87 to 105 are at a faster tempo, but should start to pick up sonic intensity and more rhythmic drive as they proceed, while still remaining essentially lyrical . The section starting in m . 105 gradually intensifies the rhythmic energy, culminating at m . 113 with a return of the opening material . The work concludes with a dramatic drive to the end starting at m . 129 .I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts .
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: PR.14440229S
UPC: 680160027330.
SKU: AP.29638S
ISBN 9780739050972. UPC: 038081322872. English.
This cycle is a setting of three contrasting poems by Latin-American poets Leopoldo Lugones, Rube én Dari Ão and Jose é Marti Ã. Olas Grises uses evocative rain and sea imagery to meditate on the nature of life and death. Set as a lyrical, quasi-strophic song, these images are portrayed through the opening percussion raindrop motive and the moaning vocal line used throughout the movement. Nocturno is a frantic soliloquy set as an extended opera scene. The opening recitative is followed by a surreal aria. This is followed by a re-statement of both sections. Suen ño Despierto is a short poem about the contrasting images of a waking dream. Based on a fragment of the lullaby Nanita Nana, heard in its entirety at the opening, the song is a set of three variations, followed by a coda, which portray these various images. Three Spanish Songs was commissioned by Michael Haithcock and the University of Michigan Symphony Band. This is the recital/rehearsal version of this piece. The vocal solo with wind ensemble accompaniment is also available (00-29639/$150).
SKU: BT.DHP-1175835-010
Who doesnâ??t know the famous Disney fairytale â??Cinderellaâ??? Not only are the fantastic visuals in the animation movie impressive, the beautiful songs are too. Eiji Suzuki made a medley of Bibbidi Bobbidi Boo, The First Branch, PumpkinPursuit, Who Is She, Lavenderâ??s Blue and A Dream Is A Wish Your Heart Makes. A perfect choice for your audience!Wie kent niet het bekende Disney-sprookje Cinderella (Assepoester)? Niet alleen de betoverende beelden uit de film zijn indrukwekkend; de mooie liedjes zijn dat ook. Eiji Suzuki maakte een medley van Bibbidi Bobbidi Boo, The FirstBranch, Pumpkin Pursuit, Who Is She, Lavenderâ??s Blue en A Dream Is a Wish Your Heart Makes. Hier wordt uw publiek blij van!Wer kennt nicht den bekannten Disney-Märchenfilm Cinderellaâ??? Nicht nur die fantastischen Bilder des Animationsfilms sind beeindruckend, sondern auch die wunderschönen Lieder. Eiji Suzukis Medley beinhaltet die Lieder Bibbidi Bobbidi Boo,The First Branch, Pumpkin Pursuit, Who Is She, Lavenderâ??s Blue und A Dream Is A Wish Your Heart Makes. Das Stück wird Ihr Publikum begeistern!Qui ne connaît pas le célèbre conte Cendrillon de Disney ? Les images magnifiques du dessin animé mais aussi ses chansons merveilleuses sont impressionnantes. Eiji Suzuki a fait un medley de Bibbidi-Bobbidi-Boo, The First Branch (« lapremière branche »), Pumpkin Pursuit (« poursuite sur citrouille »), Who Is She ? (« Qui est-elle ? »), Lavenderâ??s Blue (« lavende bleue ») et Le rêve de ma vie. Un choix idéal qui plaira votre public !Chi non conosce la famosa fiaba Disney â??Cenerentolaâ?? Non ci sono solo le fantastiche illustrazioni dellâ??animazione, ma anche delle bellissime canzoni. Eiji Suzuki ha composto il medley di Bibbidi Bobbidi Boo, The First Branch,Pumpkin Pursuit, Who Is She, Lavenderâ??s Blue e A Dream Is A Wish Your Heart Makes. La scelta perfetta per il tuo pubblico!
SKU: FG.55011-372-5
ISBN 9790550113725.
Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: BR.EB-8660
This rewarding book is suited both for use in lessons and for individual study.
ISBN 9790004184035. 9 x 12 inches.
Have you ever daydreamt? Have you ever been awakened at night by ghosts? Have you ever dreamt while playing the piano? Have you ever been startled when playing the piano? Tagtraume und Nachtmahre is an unusual piano book. You can play the pieces as theyre written, which means playing lovely, tuneful pieces; but you can also play them with sudden improvisatory moments, full of wild dreams and off-key sounds. And since this doesnt necessarily come too easily to most people, weve provided a few tips and suggestions on learning how to improvise. This rewarding book is suited both for use in lessons and for individual study. Have we awakened your curiosity? Then have fun giving free rein to your fingers and your imagination! Jana Goren, 1. winner of the Breitkopf-Klavierimprovis ationswettbewerb 2015 (age group 9-12 years) improvising on Tagtraum.This rewarding book is suited both for use in lessons and for individual study..
SKU: PR.114405050
UPC: 680160008377. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
SKU: PR.11440505S
UPC: 680160008391. 11 x 14 inches.
Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.
