Push Pull

An exploration of keyboards, from rhythm and blues to Baroque, the breath, reed bellows, organs, harpsichords, melodicas, celestas and toy pianos. All ensembles are noncooperative, meaning that each instrument plays in a singular, independent time structure.

Two Shades of Pale (tr. 1-2, 9:40, 9:40)

for Tom Pareto. Whiffs and riffs of rhythm and blues, jazz and gospel, using a quartet of legendary Hammond B-3 organs. Two of the four parts are identical in both – a pair of literal variations: harmonic, melodic, rhythmic and timbral. Crank it up!

Air (tr. 3, 7:49)

The odd melodica controlled by breath, with a floating mini piano, is layered in 16 voices. The somber form supports strands of wheezing reeds and immutable melodies.

Maelstrom (tr. 4, 10:40)

A triple duo of accordion, celesta and toy piano. As the title implies, complexity and speed unveil a fluvial, imperative end.

Continuo (tr. 5-Gavotte, 7:56, tr. 6-Sarabande, 7:49, tr. 7-Gigue, 7:09)

Three harpsichord movements in the Baroque style are inspired by J.S. Bach, in an unforgiving setting, providing the individual line and the resulting harmony with an unprecedented freedom.

Bandoneona (tr. 8, 6:18)

for Amy Denio. Playing off of the bisonoric (different fingering on push pull) and unisonoric (same fingering on push pull), this trio of bandoneons coalesces in moments of unifying texture.