I wrote this piece for my trio SQUEE! formed of Rob Jones (piano/saxophones), James Alexandropoulos-McEwan (electric guitar) and Annick Odom (double bass/clarinet).
In this piece I created a phrase formed of small fragments of material that are then placed into a systematic additive form. For me, the frequent variations of the fragments place the listener in a world where they can begin to recognise how the music sounds but never quite predict when a repetition will occur.
This piece is the result of my research into musical expectations where I arrived at my own definitions of "familiar" musical material and "recognisable" musical material. I like to think of the "familiar" as all the non-work-specific elements of music that a listener knows because they have been exposed to them many times throughout their lives. For a western encultured listener this could include perfect cadences, triads and steady beats. The "recognisable" on the other hand are those elements of music that a listener gets to know through work specific repetition. In this way the "recognisable" can be much more abstract than the "familiar". Here I am trying to create a continuous musical structure in which I play with both these concepts in order to create a sense of aural disorientation.