In Modulo, Part IICycles from the P.S.Square Absenteesfor solo pianoor mixed instrumental ensemble[3:46]COMPOSITION
This work, like the original "In Modulo", derives its material from Fibonacci series
modular cycles, with pitch determined by the cycle values themselves, relative
note-lengths by the cycle values' occurrence frequencies, voice densities by the
occurrence frequency sub-periods, and groupings (metrical and articulative) via
my sense of most plausible organization.
New in this volume is the treatment of meter. Notes originally generated as tuplet
members are not notated as such, rather as their non-tuplet value with smaller
notehead. These mean simply, "slightly less than full value", avoiding Part I's
virtually unperformable non-contiguous tuplet members. In measures containing
such noteheads the time signature is prepended with "<" (arithmetic's "less than").
Part II's source moduli are, with a few omissions, those values under 50 that the
Perfect Squared Square's collection (the subject of Part I) had omitted.
PERFORMANCE
Solo Piano
Articulation: all notes within a slur are to be connected, but with the last then
curtailed to detach from what follows; the sustain pedal may help within slurs to
connect what the hands cannot, but its use must not "smooth over" the slur-end
detachments.
Mixed Ensemble
Groups: there are 7, corresponding to voice densities ("Vcs") as designated in the
score: 1,2,4,5,8,10,14. Instrumentation is to be consistent within, but unique to,
each group.
SOUND FILE
The audio accompanying this score was produced by the composer in Rosegarden
and realized via Pianoteq's "D4 Pointillist" instrument.