for solo piano
Tesselation is based on the concept of using differently shaped motives as tiles to cover a surface, much in the way that ancient Roman and Islamic art uses simple shapes to create beautiful works of art. The pianist plays miniature snippets of music that slowly fit together to create an impressionistic canvas of rhythm, melody, and harmony.
The nature of Tesselation is a transformation between a smooth surface and a more angular, tiled surface. The motives in this piece, particularly the initial few notes, form the geometric shapes which then snugly fit together in a partially obfuscated fractal relationship. The pitch and motivic relationships are partially based on a nova fractal set, as with another piece of mine, Turpentine. This obscure relationship between the motives is most likely not heard at first listen. The motives that
reoccur will be clear to the listener, and may form an alternate structure and form not initially conceived by the composer. The pitch is initially derived from the nine note set formed when an augmented triad is removed from the twelve note chromatic set. This nine note set, also more commonly known as Messiaen’s third mode, quickly devolves and splits into the expanding harmonic and melodic language used in this piece.
scheduled premiere April 2020 (postponed due to COVID-19)
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