This piece is loosely based on my understanding of the upstate New York/ Hudson Valley’s connection with Nature. Many famous electronic composers have been in this area including Pauline Oliveros,(who died in Kingston New York, very near Rhinebeck, New York where I wrote this piece). Although I did not have access to expensive synthesizers like the Buchla Music Easel or a Moog modular, I did have access to my arsenal of inexpensive circuit bent machines I have created over the past 5-7 years. In addition I also have a DAW that acted as my tape machine during the compositional process. Minimal Music composers often switched between using very old and very new instruments. For my final, I decided to rely heavily on a modern synthesizer, the Yamaha Reface-CS. By using the Reface, I was able to create an ambiguous texture that could have come from any number of modern and vintage synthesizers. Phase music is not the goal that I had intended for my piece to become, instead I wanted to emphasize the drone-like textures that had created my understanding of minimalism. To stay within the guidelines as much as possible, I made it clear that the only instrument being used on this piece should be the Yamaha. Like fluxus, I wanted to emphasize the process over which I created this piece rather than the outcome. Much like La Monte Young, I am also influenced by the sounds of nature, being that I composed this piece in the backwoods of upstate New York. Also similar to Young, I take lots of influence from my understanding of Jazz. By sustaining a sound made up of a compound interval, I am able to utilize the upper harmonics of the sustained tone and stretch out the meaning of the interval.

To compose the piece, I first made a 20 minute long drone to which I recorded it into Logic Pro X, essentially a modern tape machine. Within logic, I cut down to the recording to only the most important part. The oscillator I used on the Yamaha CS was a sine wave. This was in some ways an ode to David Tudor's live electronic compositions. The oscillator was being manipulated in a constantly evolving/unfolding kind of way. In addition, the specialization of the oscillator was given direct attention. I wanted to add a meditative quality to my music. The piece was then diffused for 5.1 surround sound, which I did through use of a specialization plugin called “SpatGris”. After I diffused the sounds I then worked on the elongation of the piece by use of “flex time” , a tool built into Logic Pro X. If I had the opportunity, I would have preferred to have done this on a 8 track tape machine, making use of the speed functions on that. By slowing it down, the sub harmonic frequencies are revealed in what on some systems makes use of the audience’s/listeners body as a part of the song. The frequencies are so low that it may even shake the listener. This is similar to the use of the audience as a tool during Happenings (although I would rather not abuse the audience). The best way to experience this piece would be at extremely loud volumes (much like Lamonte Young’s music). The process of the sculpting of this piece was similar to painting. I had to choose a specific density for the piece that I wanted to target, and I wanted it to match the natural density of the forest surrounding my studio on my aunts property in Rhinebeck, NY. Rhythmically, I wanted to create a minimalist environment, something without a sonic focus. The weather on the day I wrote this piece also had a lasting effect on the understanding of the colors of the drone. The day was beautiful, 72 degrees, and I wanted the piece to reflect this shining quality.

Although I understand music theory, I tend to throw this all away when I write long and repetitive pieces like this. The reductive form of this piece is bound to throw away my understanding of traditional/classical music theory and rather looking towards the basic components of music. Making dynamic compositions out of the basic forms leads towards long duration's of single tones (drones), repetition of musical phrases, and simple harmonic structures. Building an acoustic space and minimizing the compositional process were key components that I had to realize during the composition of this piece.

Overall, my understanding of minimalism has led me to creating a piece that is reflective of the environment that I wrote it in. The final piece is just under six minutes long, making it not nearly as long as a “traditional” drone piece, but still repetitive. I emphasized the process of this piece, throwing away traditional understandings of music theory in favor of a minimalist approach to composition. I believe that this compositional process is grounded in a historical framework that is just as valid and rewarding as a traditional compositional process. In the end, the piece that I received from all of this did not matter, more so the process to which I came by it.