hardware:   Apple MacBook Pro/OSX
software:   RTcmix, max/msp, Apple Logic Pro

I wrote this piece while waiting for my stem-cell transplant. I had cleared out my schedule, made arrangements for my teaching and administrative work at Columbia, gone through all the medical pre-tests (of which there were many!), and because of a bed-shortage in the transplant unit at Weill-Cornell hospital, I had a tiny mini-sabbatical at home. It wasn't all that much fun, though, as the "anticipation" of the transplant grew. I sat at home, I waited, I sat, I waited, I waited.

I did this piece, then, a piece about stasis and change (duh!). As I was working on it, it occurred to me how much my musical concerns don't map onto the general discussions of music that take place at Columbia, or even in the wider composer-world of contemporary music creation. This past semester, for example, a large part of our graduate composition seminar was devoted to how "pitch" was used in faculty and student work. I wasn't asked about my own use of pitch, and this piece is probably a good example why. My pitch-sensibility is simple, my structural employment of harmonic evolution is banal. For me, that's beside the point. What we don't talk about are the aspects of musical production that do form my central focus when constructing a piece like this. Yes the Db piano chord plays over and over (and over!) -- but listen to the changing delays, the shifting signal-processing, the production-tricks surrounding the guitar additions. That's where I live. We don't have a good 'academic' language for this stuff, even though it profoundly shapes the sound of music we hear. Maybe that's what I like so much about it.

The piano-chord repeats, the DSP slips and moves; stasis and change, stasis and change. Here I sit at home, waiting for the phone to ring. Things will surely change after that. I'm rebooting my immune system.