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Cyclogenesis - part 1

from Gliese 667C by Tripataka

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    “Gliese 667C” is a journey through different territories – not just created by the visitations of the musicians as they consider such traditions as Bali, West Africa, India and Morocco – but musical territories that are innovative and beyond geographic border. These are fresh and new, and the musicians’ excitement is palpable as the listener accompanies their pathfinding discoveries. Like its cosmic namesake, this album forges into a place strangely new yet tantilisingly habitable.

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about

This piece paints the story of a journey through a cyclone, from turbulent opening winds and modulating strong cross currents to the gentle breezes of the eye of the storm and back through the harsh winds again. The musical materials are sets of continuously developing/modulating, polyrhythmic and polyharmonic material, 6 parts over 7 parts, in non-retrogradable arch form.

Cyclogenesis was inspired by a comment made by pianist Paul Grabowsky, during a soundcheck for the launch of Sandy Evans ‘Rock Pool Mirror’ project at the Melbourne Recital Centre. In response to my performance of a pan-tonal section incorporating South Indian rhythmic structures, Paul exclaimed, “Of course, you play twelve tone rows in South Indian korvai structures all the time!”. It occurred to me that I hadn’t yet actually composed a piece that blended these specific compositional forms. The opening section of this piece were created in response to this idea. Harmonically the whole piece explores 12 tone, diatonic and hexatonic forms. Rhythmically, the piece blends adaptations of South Indian and Afro-Cuban rhythmic forms.

The opening and closing sections of the piece are an original korvai composition in the style of South Indian percussionist Karaikudi Mani which is set in a way which allows for the simultaneous statement of a series of tone clock (interval limited) twelve note pitch rows inspired by the work of New Zealand composer Jenny McLeod. This meeting between two worlds is in constant interplay throughout the piece.

From Letter A, the trombone and bass play in double counterpoint. The trombone initially symmetrically expresses a 6 stage hexatonic melodic pattern, which ascends and descends. Rhythmically, this is realised as a pair of three stage arudi patterns in a classical South Indian form. The response is a melody which harmonically expresses a seven stage diatonic harmonic cycle in the key of G minor. This part is rhythmically set to seven two stage symmetrical rhythmic patterns. These rhythmic structures are derived by cross grafting concepts from Jenny McLeod’s anchor form pitch row structures onto the underlying foundational concepts of Karaikudi Mani’s rhythmic cadences. The harmonic rhythm is at twice the pace of the rhythmic cadences, resulting in the harmonic resolutions being realised in a type of reverse clave in the second part of this response.

The bass performs the same material as the trombone, but in reverse order, so that the 6 stage material is always being expressed against the 7 stage material. The drums perform both parts simultaneously; the cymbals expressing the 7 stage forms and the snare and bass drum expressing the 6 part form. These materials are symmetrically modulated throughout the first movement, using South Indian inspired rhythmic substitution procedures to create an experience of increasingly greater space, while still maintain the same rhythmic ratios between the parts.

credits

from Gliese 667C, released March 24, 2023
Composed by Adrian Sherriff

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Tripataka Melbourne, Australia

Tripataka performs original compositions by the band members that blend jazz with music from different cultural traditions, such as the music of India, Bali, Brazil, and Cuba. Trained in these intercultural forms as well as jazz and European classical music, the breadth of their combined experience and instrumental resources surpasses that of a typical jazz trio. ... more

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