May Knots (1981, 92) .for two pianos (BMI)
.by Dan Senn
May
Knots was written using
the Raku Composition
Program developed by the composer. The piece is based
on the rhythmic proportions of 1-2-3-4-1-2-3-1-2-1 and explores
two features of displaced entry or "fugue". The goal
was to create the effect of one piano chasing another without
one voice being the "virtural" rhythmic/pitch copy of
the other. In the first instance, piano 2 is separated by an increment
of silence and then made to gradually catch up with the other.
In the second, piano 1 is likewise separated with silence, but
the increment remains constant until the piece is concluded. Since
the entire piece was calculated in synchronization, these "phantom
canons" create interesting levels of obstructive interplay,
where one voice, in effect, plays with its historical trace.
May Knots has a duration of about five minutes.
The rates given are approximate. Generally, the piece will speed up, plateau, suddenly slow at the mid-point (at measure 49), speed up again, plateau, and, finally, slow toward the conclusion. While there is freedom to adjust the rates within these limits, pitch continuity will be lost if the piece is played too fast.
The standard two-piano positioning will not work for this piece as the directional characteristics of the voices (left and right) are important to maintain. Because the pianos are of equal importance, they should be positioned to sound color "identically." Because visual contact is also important in this piece, I suggest one of the following:
Important: This is a difficult piece that requires exact synchronization.
Score examples: page 1, page 2, page 3, page 4, page 5, page 6, page 7, page 8, page 9, page 13, page 14, page 15, page 16
© 1992 Dan Senn
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