fluid narratives

a 15-minute work following an alchemical arc across five sections. the harmonic field is progressively stripped until only a single pitch remains. the ebru tray acts as the primary electronic sound source; the voice emerges from its world.

opening pitch: g3 (shadow). final pitch: e6 (singularity). low register to high. ambiguity to presence.

a ritual built on one sentence the body will not release — a single dangerous, precious thing every fragment is pulled toward. the audience never hears it. the voice tries to let it go; the clarinet — the reed, the failed articulator — tries to shape it into consonant and pitch; the euphonium becomes its external organ and carries the missing word; the marbling surface records the attempts as unstable traces; the electronics keep only what stays incomplete.

tuned in just intonation on the harmonic series of B♭1. through ceremonies I–VI only four partials are heard — B♭ · F · D · A♭ — until the crack: an F quarter-sharp in ceremony VII, the one pitch outside the field, deliberate, never corrected.

echopraxia names involuntary mimicry — the body repeating a gesture before the self has consented to it. the piece treats imitation not as metaphor but as a physical condition: a system in which voice, instrument, water, and machine continuously reflect and transform one another.

the first sound is a single drop of pigment on water. the first movement is in the water, not in the ensemble. across five movements, no gesture remains singular and no repetition remains identical.