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Showing results for tags 'phrygian'.
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Hi I'd like to bring here something different. Lately, I've been working on a "Mediterranean Suite". I used a lot of different scales with something in common: they come from the Mediterranean countries. From Spain to "Persia" and from Africa to Europe, the Balkans, etc... Every one of them is unique, but I guess they all came from the same ancient scale. The suite is finished, because it's made from material I've been writing for two years or so. I made the selection and reworked some points. But it takes 10 pieces, too long to put them together here. We have here a very special mode: the phrygian-phrygian dominant scale... The one used in Flamenco. Levante is the coast my city is in... This piece imitates the sound of the guitar. Flamenco music don't use the piano, only guitar and other instruments (caja, castañuelas). But, of course, younger musicians have introduced many other instruments.
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This is an ode to family and home in uncertain times. The tracing of many loved feet over the same path in the yard is a visible, physical reassurance that everyone is safe and accounted for in an age when many people can't count themselves so lucky. We start out with each voice part in a different phrygian mode, gather ourselves together into A minor, and only at the very end shift definitely to a more certain sounding and strong C major. The piano part isn't very pianistic, but it provides sort of a bell tolling to keep the pitch true at the beginning, and then a continuous heartbeat as a reminder of exactly what is at stake when you love another person. As long as the heart beats we live in the knowledge that some day it will stop. I tucked one hidden line in, just for the basses. Everyone says, "I love the little path your feet have made between the door and shed. It says you were here, and here you'll stay. And the grass loves summer light too much to mind a little wear." And the basses say, "Warm grass loves summer light as I love you." Caring for other people wears us away like footsteps ruin the lawn, and that's what makes us love them. They change us. The heat of summer turns the grass brown and brittle and it sings with a thousand summer songs and smells like home. If you have any input, I'd love to hear it. Particularly on the section with the 3/4 and 2/4 bars. I know I like the way the rhythms sit there, but I'm not sure if I expressed them in the easiest way for the conductor. I tried conducting my way through it and this was the best I could do to get the stressed beats of the text to line up with the strong beats of the measure, but maybe some of the 2/4s should be 4/4?
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Here they go. Take One Partitura completa (1).pdf Take Two Partitura completa (1).pdf
