Phillipy refers to himself in the third person, as if existing as a separate entity from his very self. I find the habit interesting, a sport of sorts, a way of explaining one’s actions from a distance. Phillipy knocks at the door…three times… “…three times, that’s all Phillipy can take.” He can tell when thoughts are tangled. He may speak in the third person but he is linear, he follows one thought with the next…
In creating this track, I wanted to really feature Phillipy’s autistic obsession with precision and the number 3 in the following ways:
the work features a solo trio (violin, viola, and cello) against the backdrop of the string orchestra.
the main sections “plunk” along with pedantic and clockwork rigor
at around 1:58 in the recording, the accompanying harmonies are outlined with ascending triadic arpeggios… (meanwhile, the harmonic progression is descending… pretty cool, right??) ^_^
at two points in the recording (1:58 and 3:48), the main theme is broken up by two variant themes that move the rhythm along in 3/4 as opposed to the methodical 4/4 we started in.
at around 2:58 in the recording, the solo trio plucks out the dissonant “knock three times” motif that is one of Phillipy’s compulsions — and they repeat this three-note motif…three times in a row…
And finally, toward the very end of the work (around 4:04), we hear the descending glide of the violins as Phillipy “goes to meet his mother”… and we finish with a stark, triplet rendition of the main theme from “I Know What Death Sounds Like“… a theme that tends to emerge everywhere you look in this Suite… 😉
Enjoy the recording of “Phillipy is Fragmented” below — featuring Darrell Peries on solo violin; Cathy Alonzo on solo viola; and Jenna Ford on solo cello.
This heart-wrenching little musical sonnet 🙂 can be performed by an intermediate-advanced trio. Get the sheet music here! And stay tuned for our new work of next week…
This work for violin, guitar, and piano holds such a special place in my heart. <3
I originally finished writing it in 2006, my last year at Cal Poly Pomona. When I had first sketched out my ideas for “Pegasus” it was right after one of my Middle Eastern Music classes (I loved my ethnomusicology classes!!!). During this particular class we had gotten just a taste of certain Middle East drumming patterns and practices, one of them being the 10/8 pattern the piano part outlines at the beginning of this work. In the table below, imagine the lower row is a deeper pitched drum while the upper row is a higher pitched drum; it goes a little something like this:
Now listen to the opening piano part:
Can you hear it? I’ve always thought it was pretty cool! :p
The thing is, once I’d written about the first minute-and-a-half, for only violin and piano at the time, I got stuck. At some point afterward I began taking composition lessons on the side of my normal studies with Dr. Peter Yates. Of course, being a phenomenal guitarist, he suggested I add a guitar part to the ensemble–I’m so glad I did. 🙂 Then he helped me think through the rest of the work–and we even debuted “Pegasus” on the Cal Poly stage one evening concert!
Since then, I didn’t get to record this work definitively until one of my fellow Cal Poly alums offered to record a few works for me in the studio. So, we got together more fellow alums–John-Paul Trotter on guitar and Mike Jung on piano–to have a giant reunion-style recording session! It was a blast!
“Pegasus” can be performed by an intermediate-advanced trio. Get the sheet music here! And stay tuned for our new work of next week…