LEVELS
The composition of the piece is based on the ideas of variation within unity and the sameness underlying diversity. The fundamental unity of the composition is a repeating series of all twelve pitches that are placed a sixteenth note apart from each other at a tempo of quarter note equals 108. The music is written to correspond to traditional measures of 3/4 time. Each pitch class can occur only at a specific time interval and each only once within the measure; all measures are exactly the same in this regard. Pitch classes are restricted to when they can occur; thus, D flat can only occur on the first beat of each measure, A flat on the third sixteenth of the second beat, B flat on the second sixteenth of the third beat, etc. Pitches are transposable to any octave at any time, durations of notes may vary and notes need not sound at any particular time (when it is their turn, so to speak).
This is not a serial piece since time and pitch consistently correlate, the "row" never changes, and pitches need not follow in any particular order (notes can be left out). The measure lines are used as a convenience only, and "real" meter is in constant flux. An essential idea of the composition is the relationship between pitch and time; they are dependent on each other, as each is a function of the other. Tempo for this composition is based on "real" time and musical time. Ideally, the tempo (quarter note=108) should remain stable in relation to the written music; thus, a D flat can occur only every 1.67 seconds. Musical tempo varies depending on the perceived levels of organization; the sense of beat can be quite flexible and varied within the otherwise rigid temporal framework.
This work is quasi-programmatic in depicting various states of chaos and order that are created in various ways through the manipulation of the array of available pitches and rhythms inherent in the system. The repeating pattern of activity serves as a field of possibilities. The title Levels is inspired by the theory of energy levels occupied by electrons within atoms. In the atom various energy states make for differing physical properties in a similar way that octave changes create differing perceptual groupings throughout the piece.
Measure 1 presents the random field of notes in constant sixteenth notes and upon several repetitions the listener perceives three distinct lines or voices in three separate registers. The piece then proceeds following the strict "rule" that only one pitch per measure may change register. The G that was in the lower voice in measure 1 moves to the inner voice in measure 2, thus adding a note to the inner voice melody while deleting a note from the lower voice melody. In measure 3, E flat moves to the inner voice from the lower voice and in measure 4, A moves from the upper to the lower voice. This procedure continues until measure 43 where all pitches converge into the inner voice. There is now a new semblance of order and the strict rule of one note change per measure no longer applies. The "chain" of notes now takes on a life of its own and freely explores the ranges of the keyboard. At measure 52 a bifurcation begins to occur and the lower notes form their own voice that becomes more and more prominent as the upper voice is gradually eliminated and replaced by rests between measures 51 and 62.
In measure 63 the lower voice notes now sustain through the previous rests and with the introduction of the damper pedal in measure 64 a new more serene mood is created; the music is freer and more flowing. The music becomes more chaotic from m. 77 to m.88. Chaos has interfered with the previous period of order. New order is restored at m. 92, taking a motive from the preceding measures. The music is now quieter, simpler and more delicate, while evolving through repetition, accumulation and the dovetailing of motives.
The music becomes more frantic at m. 158 and finally "bursts" into a new mood and style at m. 165 that is romantic and somewhat passionate. This section begins with chromatic imitative counterpoint and evolves into a dark, static and mysterious state by m. 193. The tremolos during this section should sound ominous and foreboding. The section beginning at m. 234 has a yearning quality and breaks into chaos at m. 249.
A theme emerges at the end of m. 256 that was hinted at in various guises several time during the piece. This theme which is repeated from m. 263 should sound important and somewhat majestic as if something truly wonderful has emerged from the chaotic field and a meaningful order has been discovered. The theme serves as a point of arrival and departure. The section that follows from m. 271 should have a magical and mystical quality with a sense of stillness and spaciousness. Each of the held notes, along with their chaotic filigrees, should sound like joyous discoveries. The length of each fermata should be determined by the sound at the moment- ring time, fade time, reverberation time, etc. Although the measures during the feramti are always three beats long, the next note should be played when the player feels that it is time. This section ends with a quasi-mini-cadenza beginning at m. 314 that resolves to D flat at m. 316.
The held D flat becomes a "seed," so to speak, for the next section that germinates a two-part polyphony from all the available notes of the field. There should be a sense, here, programmatically, that some form of life is forming. The repeated measures of chordal figurational patterning that begin at m. 329 are, perhaps, several available life forms that resonate well, within and among themselves. They were there all along, in a sense, but only as potentialities within the set field of possibilities. The patterns should change only when it feels right to do so. The piece ends on the A flat chord only to imply continuation and another transformation.
Strict time is meant to be kept throughout, although certain sections sound better at slightly different tempos. Many of the seemingly syncopated rhythms act more as rubato-like anticipations and delays, especially in the more romantic sections. Others act more as shifts of meter or actual changes of tempo. The notational arrangement in traditional measures of 3/4 is purely for convenience and is not meant to be taken literally. Pedal indications are very general and the performer is encouraged to try various effects. Notions of order and chaos should be kept in mind while pedaling; for example, dissonant blurs may be desirable during chaotic moments.