Fall 2008 – Winter 2009, rev. 2011
for flute, oboe, clarinet, bassoon, tom-toms, marimba, piano, viola, double bass and electronics; 7:30
for steps that grow when climbed looks at (dis)continuity as syncopation within longer durations. The piece’s structure is characterized by perpetually expanding sections (thus, the title), with each section articulated by a discontinuous moment. At the same time, movement and (dis)continuity are also voiced within sections. As a result, the piece illustrates how multiple continuities can simultaneously occur on different hierarchical levels, which can be interrupted and restarted to create various kinds of discontinuities. One of the ways that the piece achieves these (dis)continuities is by juxtaposing the acoustic ensemble with electronically-processed versions of its gestures. The piece also asks the acoustic ensemble to mimic computer processes, such as algorithmic duration alteration, to further illustrate how human and electronic elements can interact. In this way, the electronic interprets human gestures, and the humans interpret electronic gestures. These moments of synthesis are juxtaposed with moments that are purely acoustic and purely electronic. The result is a variety of relations that are characterized by different distances relative to a continuum defined by the poles of acoustic (human) and electronic (computer).