Steve Kornicki Music

In this 7 1⁄2-minute work, Steve Kornicki has created an entire compositional process built around predetermined structures and processes that are the result of improvisational compositions using computer sequencing. For each of the 12 parts, every instrumental line was composed individually before it was added to the score.

Looking at the score in its totality, there are three basic categories with which one can define an instrument’s role. The first is that of a rhythmic background, which is carried by the hi-hat, maraca, cymbal, and tambourine. Each of these parts plays a unique, single one-bar pattern that lasts for almost the entire length of the piece, with some dynamic fluctuations along the way. The second category is pointed definitions of tones that sporadically appear throughout the work, played by the piano, chimes, and crotales. The third category is the harmonic and melodic waves of notes that are played with repetitive rhythms, and are very patient with the pace with which they change notes. These parts are played on the marimbas, vibraphone, and xylophone, and they shoulder the bulk of the weight, in terms of the trajectory of the character and “story” of this piece. Kornicki wrote each of the mallet parts as a 12-tone row that is related to the others, in that from the original row in the Marimba 1 part, the others are transposed up or down, and at times even played as a variation.

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One point of interest is that while these tone rows are played, they might stay on one repeated note in the row for 10 to 20 measures before shifting to the next note. As these 12 musical lines weave in and out of each other, moving from the foreground to the background of the texture, the resulting synthesis is very trance-like, ambient, and persistent in its morphing nature. When the notes in the tone rows change, the resulting pitch blends consist of notes that are, mostly, a major second or perfect fourth apart. The composer also creates interest by shifting octaves and undulating the dynamic interplay with a random sense of order. 

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From a player’s perspective, the only “chops” required to pull off a great performance will be ones that require mental focus when playing a part that doesn’t change often, while still maintaining a healthy blend and balance with the rest of the ensemble. All in all, this piece has appeal, as it presents a different type of art when compared to most standard percussion ensemble pieces.

-Joshua D. Smith, Percussive Notes January 2022