The feeling of standing before a large ensemble and hearing the summed voices produce a composite musical work is one that often escapes description. When a performing group is in synch and in tune with itself the environment is forever changed at both the micro and macro levels.As a young composer I constantly experimented with several compositional techniques for groups of varying sizes. Two hundred piece marching bands, wind ensembles, vocal groups and small combos were the focus before becoming immersed in the quartet, quintet, sextet band configurations of the New York City music scene. A decision primarily based on deterministic pressures versus artistic ones.
This composition was written as a theme for the Jason Lidner Big Band which performed at Small's once a week for many years in the mid to late nineties. The arrangement featured several intersecting melodies that were also equally as supportive as chordal structures. As a result the composition was perfect as a vehicle for improvisational soloing. The aspect of the composition as an etude was in part due to the combined use of third relationships of both major and minor qualities which accounted for both augmented and diminished derivative chord systems. The composition symbolized vibrational creations; from the smallest covalent bond to the creation of star systems in the cosmos. In addition to arranging a few other originals written for the big band, Jason would have me as a guest conductor on occasion. The composition was recorded on Chick Corea's Stretch Records label but was not put on the final format of the Jason Lidner Big Band CD.
I embrace all group configurations including that of the solo. For it represents something unique in-of-itself that cannot be achieved by any other means; the opportunity to hear and feel the Prana of both the artist and the art in question. I have decided to share it as a solo rendition.
Dedicated to all that is.
Composition, synthesizer programming, and performance by James Hurt
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ТВ Шоу
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