This series (made in the spring of 2009)
ideally belongs with Boleros, although it
was executed using an altogether different system. The question behind
both concepts is the same: what happens (sonically and musically) if I
overlap several copies of the same piece, slightly shifting
each one in a regular way? In this case the copies are digital clones
(and not different versions, as in Boleros). I'm working on several
pieces using this method. (Tip: the number of instruments or groups of
instruments used in each piece is also the number of copies used.)
There's a text to present this concept.Circumstance Phase (for six pianos) 1'48
From Pomp and Circumstance Military Marches, March No. 1 in D major by Sir Edward Elgar
Hungarian Phase (for six sextets) 3'12"
16 bars loop from Johannes Brahms' Hungarian Dance No. 5
Réjouissance Phase (for nine pianos) 5'32"
from Georg Fridrich Händel's La Réjouissance - 4th movement from Music for the Royal Fireworks
watch videoclip
Amazing Phase (for nine celestas) 1'51"
from Amazing Grace (trad.)
G Major Phase (for six vibraphones) 2'40"
from Johann Sebastian Bach's prelude to Cello Suite Number One in G