Abstract
Self, Analyzed is an original work for chamber ensemble. The instrumentation for this piece can, in a way, be seen as a variation on the now “traditional” Pierrot ensemble (flute, clarinet, violin, cello, piano, plus percussion). The element of parody, while not fully intentional, is one that I nonetheless whole-heartedly embrace. As this was my first attempt at writing for an ensemble that included the guitar, I wanted to use the inherent properties of that instrument in some harmonic/ formal manner. The initial five chords of the piece and their voicings were chosen because of their idiomatic nature on the guitar, and they contain, in order, the open strings, beginning with A. These chords are then “unfolded” during the course of the piece, governing the content of each section and the long-term connections between sections. Although there is no prescribed “program” to this piece, my thoughts while writing were on the way the brain, and mine in particular, works in such a non-linear fashion, jumping randomly from one thought to the next, or creating arbitrary associations that lead from point A to point X (and back, or not…) in a manner of seconds. For me personally, this often makes for very long trains of thought (and rambling conversation), kind of like this paragraph, but ultimately seems to form some sort of coherent statement, even if only to myself.