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Synergiosis I
(2000)
For Soprano Saxophone & Mallet Percussion
Duration: ca. 9 minutes
First performance:
March 20, 2001
at Northern Illinois University by
Joren Cain: soprano saxophone
Anne Carmel: vibraphone, marimba
Second performance:
October 8, 2001
at the University of North Texas by
Joren Cain: soprano saxophone
Stephanie Carr: vibraphone, marimba
Program Notes
Synergiosis:
is the collective title of a group of planned chamber pieces
written for unusual instrument combinations. The number of such compositions to be
written is undetermined. The title is a fusion of the words synergy
and symbiosis, which together reflect the intention of these pieces.
Webster’s Dictionary defines synergy as "combined action or operation"
and symbiosis as "a cooperative relationship" between two dissimilar
groups. The "bi" in symbiosis was purposefully left out of the
title to allow for larger ensembles other than duos. The Synergiosis
works are intended to be challenging compositions with virtuoso
elements. There is a thematic line which will serve as the foundation
for all the works in the series although it will be most evident
in Synergiosis I. All will explore specific strict compositional
procedures and be based around a specific tonal center.
Synergiosis I (2000): The first in this series
is a duo scored for soprano saxophone and mallet percussion. It
was written specifically for Joren Cain, to coincide with his
tenure at Northern Illinois University as a guest faculty member
during the Spring 2001 semester.
The compositional techniques employed in this piece
include mensuration canon, tonal pitch manipulation around a the
note C, thematic fragmentation reassembled into new musical lines,
melodic variation and polymeter.
This work is built around three different thematic
ideas: the opening gesture, the synergiosis theme and the axis
melody.
opening gesture
The opening gesture comprises two measures with
the second being an inversion of the first, reinforcing the C
aeolian tonal center which is the focus of the piece. This is
presented in several different tempos throughout the work giving
it a different character in various contexts.

synergiosis theme
The synergiosis theme manifests itself in many guises
throughout the piece. Initially only fragments of the theme appear
which are used to reconstruct new melodic lines. The theme is
first presented as a whole, but in augmentation, in the middle
slow section. This is a four-part mensuration canon which is achieved
by use of the damper pedal on the vibraphone, thus allowing the
percussionist to play three of the voices.

axis melody
The axis melody does not show up until the last
quarter of the piece. Essentially the notes which form this short
two-measure theme work in equal intervals around the C pitch center.
This concept of alternating intervalically around the note C plays
an important role in this work even when the axis melody is not
present.
There is also a contrasting minimalist section that
is based around a marimba groove which begins in 5/4 time. After
several repetitions, the percussion part becomes semi-polymetric
as the left hand begins to play quarter note beats in 7/4 pitch
groupings while the right hand maintains the 5/4 ostinato. The
result is a specious 4/4 feel, which in actuality is more complex.
The saxophone alternates between the repetitions of the 5/4 line
and expansions of it which add another beat, thus 6/4, while fading
in and out of the texture. Different canonic relationships result
from this process. There is also a real 4/4 part which interrupts
the polymetric groove.
There are several multi-meter sections based on
fragments of the synergiosis theme which are played on either
(depending on the section) the marimba or the vibraphone in unison
with the saxophone. In a few measures the sax plays the retrograde
of the percussion part and in one part they are in canon. The
result is a contrast between precise synchronization and a deceptive
choas. This type of interplay is one example of the intention
to musically represent the concept which the title of the work
evokes.
View the score
Download an mp3
Copyright © 2000 by Kurt Mortensen
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