{"id":1464,"date":"2013-04-16T11:56:33","date_gmt":"2013-04-16T15:56:33","guid":{"rendered":"http:\/\/opensourcemusic.org\/?p=1464"},"modified":"2013-04-16T11:56:33","modified_gmt":"2013-04-16T15:56:33","slug":"circles-lines-cadillac-moon-live-stream-video","status":"publish","type":"post","link":"https:\/\/opensourcemusic.org\/?p=1464","title":{"rendered":"Circles & Lines + Cadillac Moon Live Stream Video"},"content":{"rendered":"

Here is the recording of the Live Stream Cadillac Moon<\/a> and my composers group Circles and Lines<\/a>\u00a0put on. \u00a0My segment is at the end, and I hope you enjoy! \u00a0During the course of the rehearsal, Meaghan (Cadillac’s cellist) asked me why I had chosen to use dashed\u00a0bar lines\u00a0in the score. \u00a0After the short rehearsal I thought on the question more and I remember that as I had begun to write the movement a|STL: Wormhole. \u00a0I imagined it was originally to exposit in a far more free way, much like the very beginning (which you hear). \u00a0Time signatures were to be non-existant and gestures were supposed to be quasi-aleatoric in their temporal execution (after all time and space warp in wormholes!).<\/p>\n

Eventually though, I found the material that I was bringing in from other movements demanded a more rigid structure for practical purposes. \u00a0For example, the fast leggiero section from the last movement would be silly to represent in a dashed\u00a0bar line\u00a0setting without time signatures, so I threw in double bar lines to demarcate the major section and put in time signatures to make it easier to read. \u00a0It turned out I had to keep returning to this kind of scoring to the point that having dashed\u00a0bar lines\u00a0in an attempt to elegantly convey the freeness of the movement and gestures became meaningless.<\/p>\n