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Robert Siegel

from P88: NPR, Vol. I by Mont Chris Hubbard

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I like this piece a lot. Here are some of the reasons I like it, in the order in which they occur:

- the regular phrase lengths, tempo, and meter of the first section, yet irregular ostinato and accents.
- the strict modality of D major. Yet notice which note I don't play at all? C#. And yet almost every phrase ends, harmonically, in V (A major). They're ALL suspensions, but they sound really natural. I don't introduce a C# until I've wound my way into B minor (actually B Dorian).
- the seamless transformation of the 3/2 meter into a 12/8
- the unrelenting yet delicate ostinato of the arpeggiated B minor (first inversion) chord in the left hand
- the unpredictable accents and wrong notes in the right hand against said ostinato
- the obvious return to D major in the right while the left stubbornly continues to insert the B minor
- the triumphant "return" by both hands to D Lydian. It sounds like the piece finally found its home.
- the open, probing ending

credits

from P88: NPR, Vol. I, released April 10, 2008
Recorded on February 11th, 2008, at Peace Church of the Brethren, in Portland, OR, with a Zoom H4 Digital Recorder. Edited with Audacity music software.

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