Author Archives: Kris Tiner

Opposing Wings

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gravity2

This is the first of the second-generation Gravity compositions which will utilize non-transposing gravity points (the longer pitch sets in the square boxes). The emphasis here is on symmetry, hence the repetition of 4s and 3s (major and minor thirds). These intervals yield a non-transposing set that duplicates the octave at 12, returning to A in order to re-route back into the piece.

The ascending version of this set (A-C-C#-E-F-G#-A) is basically the “Bitches Brew” scale transposed to A; the descending version incorporates the same intervals going in the opposite direction (A-F#-F-D-C#-Bb-A).

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Gravity No. 1

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Empty Cage Quartet records in Brooklyn, NY, September, 2008

Empty Cage Quartet records in Brooklyn, NY, September, 2008

Gravity No. 1 is an 11-part open-instrumentation composition that was written in 2007. It was the subject of a presentation at the 2nd Annual Conference of the International Society for Improvised Music at Northwestern University in December, 2007, and funded in part by a Subito quick advancement grant from the American Composers Forum.

Subito quick advancement grant ($1,500) from the American Composers Forum’s Los Angeles
and San Francisco Bay Area Chapters

The composition was recorded in New York City by the Empty Cage Quartet in September, 2008. That recording (which is excerpted below) will be featured on an upcoming CD on Clean Feed Records.

Gravity No. 1 is the first in a series of compositions that examine my concept of gravity points. This system provides a method of selecting pitch and harmonic material via a conception of symmetrical intervallic relationships in which prescribed intervals above a given frequency are duplicated as a “mirror image” below that frequency. The notation is borrowed in part from musical set theory, where semitones away from a central pitch ‘0’ are numbered 1, 2, 3, etc. to 11 (the major seventh interval) and then the series starts over again.

In this composition the written material is designed to establish a systemic structure from which emergent zones of expanded group interaction become possible as new connections are discovered during an improvised performance (improvisation here having to do with the selection of material from the score as well as personal extemporization). The goal is to learn to channel temporary states of spontaneous musical activity into solidified sound-structures that are either derived from the composition or arrived at via the improvisation. As each new performance builds upon the last, these structures can be analyzed, catalogued and mapped, and the development of an ensemble consciousness can be measured against the decreasing degree of dependence upon the written material.

Download PDF: Gravity No. 1 (score + composition notes)

Excerpt – Gravity No. 1: Section 4

Gravity No. 1: Section 4 by kristiner

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