Patterns in High Places - iii. libre!
from Describe Yourself by Christopher Whitley
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about
Patterns in High Places
Kara-Lis Coverdale (2022)
Dear Christopher,
This exists to be played by you to play for yourself. It is a way to become connected with the instrument and the fundamental sounds it is capable of producing. There is no ‘performance’ except existence.
The rhythm is to be elastic, but led by the resonant potential of the open strings. Emphasize listening deeply, and lead the phrases with your own breath.
Generally the parts are organized in 16s: 8 counts in and 8 counts out. You are never lost! 2, 6, 8, 16, and everything else in between.
Breathe and hum, if and when you need or feel. Leave space for pure existence. Rather than depiction, we are interested in making space for an unknown, and in this sense we can only think of these phrases as gateways.
There is nothing but harmony.
Yours truly,
Kara-Lis
Kara-Lis Coverdale (2022)
Dear Christopher,
This exists to be played by you to play for yourself. It is a way to become connected with the instrument and the fundamental sounds it is capable of producing. There is no ‘performance’ except existence.
The rhythm is to be elastic, but led by the resonant potential of the open strings. Emphasize listening deeply, and lead the phrases with your own breath.
Generally the parts are organized in 16s: 8 counts in and 8 counts out. You are never lost! 2, 6, 8, 16, and everything else in between.
Breathe and hum, if and when you need or feel. Leave space for pure existence. Rather than depiction, we are interested in making space for an unknown, and in this sense we can only think of these phrases as gateways.
There is nothing but harmony.
Yours truly,
Kara-Lis
credits
from Describe Yourself,
released June 23, 2023
license
all rights reserved
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about
Redshift Music Vancouver, British Columbia
Redshift was founded in Vancouver, Canada with a focus on championing the music of contemporary composers.
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Apr 2024 -
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