Piano Suite
For solo piano.
The Piano Suite was written for Michelle Cann in 2015. It consists of three movements: a Prelude, a Toccata, and a Postlude. The Prelude, like those by Bach by which it was inspired, contains fast-moving arpeggios, with hints of melody contained within. Unlike baroque preludes, however, the harmonic language is one informed by the intervals of perfect fifths. Notes gently undulate and crest as they take the listener along on their journey.
The Toccata contains a blisteringly-fast 7/8 motif which rings out throughout the piano's extensive range. Melodies emerge and recede while the off-kilter rhythm pounds ceaselessly underneath. The Toccata keeps churning, becoming more and more chaotic, until it simply runs out of steam.
The Postlude attempts to elongate time and note durations. Like the Prelude, harmonies exist without overt melody, yet instead of being arpeggiated, the chords move homophonically. The interval of the perfect fifth is still an important one here, yet by extending ever outward along the circle of fifths, the chords become increasingly dissonant.
For solo piano.
The Piano Suite was written for Michelle Cann in 2015. It consists of three movements: a Prelude, a Toccata, and a Postlude. The Prelude, like those by Bach by which it was inspired, contains fast-moving arpeggios, with hints of melody contained within. Unlike baroque preludes, however, the harmonic language is one informed by the intervals of perfect fifths. Notes gently undulate and crest as they take the listener along on their journey.
The Toccata contains a blisteringly-fast 7/8 motif which rings out throughout the piano's extensive range. Melodies emerge and recede while the off-kilter rhythm pounds ceaselessly underneath. The Toccata keeps churning, becoming more and more chaotic, until it simply runs out of steam.
The Postlude attempts to elongate time and note durations. Like the Prelude, harmonies exist without overt melody, yet instead of being arpeggiated, the chords move homophonically. The interval of the perfect fifth is still an important one here, yet by extending ever outward along the circle of fifths, the chords become increasingly dissonant.
For solo piano.
The Piano Suite was written for Michelle Cann in 2015. It consists of three movements: a Prelude, a Toccata, and a Postlude. The Prelude, like those by Bach by which it was inspired, contains fast-moving arpeggios, with hints of melody contained within. Unlike baroque preludes, however, the harmonic language is one informed by the intervals of perfect fifths. Notes gently undulate and crest as they take the listener along on their journey.
The Toccata contains a blisteringly-fast 7/8 motif which rings out throughout the piano's extensive range. Melodies emerge and recede while the off-kilter rhythm pounds ceaselessly underneath. The Toccata keeps churning, becoming more and more chaotic, until it simply runs out of steam.
The Postlude attempts to elongate time and note durations. Like the Prelude, harmonies exist without overt melody, yet instead of being arpeggiated, the chords move homophonically. The interval of the perfect fifth is still an important one here, yet by extending ever outward along the circle of fifths, the chords become increasingly dissonant.