Compositions – Page 4 – An Echo That's Reversing

Suite for Turntables and Piano — Four months in and finishing the third movement

I’m very metrics-oriented: how long have I worked on a piece? How much music has been written? I read of writers feeling in the-same-or-similar way regarding how many pages they write in a day (it’s always very few). It’s been four months and I’m at 15 minutes of music. I don’t think that means anything.

At this point, I’m not sure that the turntable can hold up as a solo or chamber instrument. That’s a self-canceling suggestion since any instrument can be a member of an ensemble, but I’m trying to balance my fascination for the instrument against the actual experience. So more than self-canceling it’s self-reflective. Half full?

Suite for Turntables and Piano, 2nd mvmt. Barcarolle, measure 88 through 100 (end)

Suite for Turntables and Piano — Considerations on classification and finishing the second movement

Updated 16 Mar 2022

So far writing for turntables feels most similar to writing for tuned percussion. There’s also a sense that it’s somewhere between an acoustic and an electronic instrument. Though what I’m working with (samples) are more on the electronic side, I’m writing for an instrument that produces sound via physical movement and instrument vibration as opposed to spliced tapes or synthesized sounds initiated by, crudely stated but with no pejorative intent, a button push. There is a spectrum of physicality with electronic music, and there is a spectrum of electronic music as it moves further away from a human body initiating the sound. Although this is the first electronic-adjacent music I’ve worked with, it’s been an experience more familiar than expected because of the turntable’s percussive provenance.

*Suite for Turntables and Piano, 2. ich fühle Luft*, measures 143 to 159

Suite for Turntables and Piano — Timbre and finishing the first movement

Composing this work has been no single process but rather an organic transition moving from process-to-process as I experiment to work out the challenges. I’ve had mixed success and the score has been more a battlefield than normal: I’ll need a new eraser for the next project. The only consistency in the compositional approaches is that I start with a general sketch of the turntables’ “phrasal intent” within a section and within the movement’s structure then, somewhat as a crutch, write the piano part with the vertical alignment of turntables and piano happening naturally.

Suite for Turntables and Piano — Approaching a new instrument

Once I’d heard about it, I looked far and wide for Ferneyhough’s book of essays and composer interviews but could only find it for $1,300+ used on Amazon (ik,r?) and listed elsewhere as out of stock. Some sites had PDFs but they were generally pay-to-view (Scribd is the main culprit, per usual). Several pages in to the Google results I found a very sketchy-looking site that had it for download. Cool with me. Pages are scanned with greater-or-lesser quality, some clean, some absurdly skewed as they were pressed against the copy machine but still readable. Later, I found a scan a bit cleaner but from an equally sketchy site. Also cool with me.

Suite for Turntables and Piano — Notation

Different from when I finished the symphony, near the end of finishing the string quartet I immediately had an idea for this next work. The in-between-time in this instance is not downtime, but rather a period spent on research.

For (manymany) years I’d had the idea but never had the resources–or perhaps commitment–to approach it. The concept was a natural result of a classical/modernist listener who early on listened to Qbert, Invisibl Skratch Piklz, Shadow, et al. Choosing a sonata-like approach was an equally natural result for something that lends itself best as a solo instrument.