{"id":466,"date":"2015-08-01T06:31:12","date_gmt":"2015-08-01T10:31:12","guid":{"rendered":"http:\/\/christophertrapani.com\/wordpresssite\/?page_id=466"},"modified":"2015-08-27T07:46:43","modified_gmt":"2015-08-27T11:46:43","slug":"westering","status":"publish","type":"page","link":"http:\/\/christophertrapani.com\/wordpresssite\/westering\/","title":{"rendered":"Westering"},"content":{"rendered":"
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Westering\u00a0(2010)<\/strong><\/span>
\nfor hexaphonic electric guitar and chamber orchestra (1.1.1.1 \/ 1.1.1. \/ 2 perc. \/ harp \/ piano (doubling just intonation autoharp in G) \/ mandolin \/ strings [6.5.4.3.2]) [15:00]<\/span><\/h3>\n
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“…and on West-ward, wherever ’tis not yet mapp’d, nor written down, nor ever, by the majority of Mankind, seen… ever behind the sunset, safe till the next Territory to the West be seen and recorded, measur’d and tied in, back into the Net-Work of Points already known, that slowly triangulates its Way into the Continent, changing all from subjunctive to decarative, reducing Possibilities to Simplicities that serve the ends of Governments,\u2014 winning away from the realms of the Sacred, its Borderlands one by one…” \u2014Thomas Pynchon, <\/em>Mason & Dixon<\/span><\/h5>\n
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\"P1020025.JPG\"<\/a>Westering<\/em> evokes the idea of a westward movement. The piece is largely inspired by music associated with the west: country and western guitar timbres, West African balafon music\u2014but above all music from California: the just intonation ratios and plucked-string instruments of Harry Partch (to whom the adapted autoharp played by the pianist pays homage), Los Angeles folk\/rock (Joni Mitchell’s chains of consonant harmonies, Jeff Lynne’s superimposed layers of strummed guitars), as well as psychedelic rock from San Francisco and its rig of classic guitar effects.<\/span><\/p>\n

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