Phases

The title, Phases, closely reflects the form of the piece. It describes a pattern of events recurring in a specific order, generating a process of constant transformation. Each section consists of the same series of subsections: a, b, and c. Motives and pitches often reoccur in associated subsections; and the three subsections occur in the same order within each section, providing a structural unity to the piece. The overall shape of the piece may be viewed as a combination of the theme and variations and cyclic forms. The perpetual recurrence of sections suggests a theme and variations form containing six sections: AA' A'' A''' A'''' A'''''. A three sixteenth note head-motif arpeggiating wide intervales, presented in stretto in several voices at different pitch levels, signals the start of each section to the listener. Although too short for a traditional theme, this head-motif undergoes transformation each time it appears, which process follows the basic concept of a theme and variations. However, similarities linking each section and subsection to the others also suggests elements of cyclic form. Cyclic form refers to a multi-section work, in which recurring musical ideas provide formal unity; in combining certain aspects of theme and variations and cyclic forms, Phases becomes a hybrid between the two forms. The first section serves as a roadmap for subsequent sections by determining the order of subsections, allowing for a continuous musical transformation throughout the work. The six major sections of the piece begin in mm. 1, 35, 63, 107, 122 and 190. Each includes a series of subsections a, b and c, whose order remains constant throughout the piece, but whose length, volume, texture and orchestration vary dramatically between each section. Each a subsection consists of a rhythmically complex, contrapuntal passage in several instruments, through which the players attempt to establish harmony or unity between the voices. Each second subsection, b, is marked by a process of disintegration or breaking away into different solo passages. Finally, each transition passage, c, is usually focused on a single cluster chord, and builds up rhythmic and dynamic intensity in order to lead into the next section. (See more in text.)