The concept here is a strident, powerful statement lasting for the first six minutes and developing into a delicate poetic second section. The transformed acoustic clarinet performed by this composer and percussive strokes from inside the piano performed by Jeremy Martin.

The opening sound make a clean yet rough statement as to what is to come: dynamic and pulse alterations, with many ‘peaks’ and subtle layers. In this opening section the placement of sounds has a cohesive rhythmic sense through the spatial use of the source material with equal balance of melodic and percussive material for the first six minutes. The clarinet gestures emerge for the last four minutes in Root Drinking with the transformed clarinet sounds moving into complex paths and high overtones as if speaking to each other with occasional hoarse interruptions of white frequencies. These layers fluctuate to give different densities of texture. All parts have a small dynamic and tonal range creating a metamorphosing atmosphere.

Sounds for Root Drinking as stated above are altered by the following transformations: mixing, fragmenting, vibrato, delays, panning and ring modulations. These accentuated sounds are treated with different dynamic and room placements.

The clarinet and piano alone have there own complex overtone and timbral attributes. I have kept the amount of material used by the clarinet to six motifs which are formed into gestures and are stated clearly throughout. Only two motifs by the percussive piano and have been used with much fragmentation.

The sounds were also influences from images based on a 6x4 foot multi-media canvas that was created during the same period of time entitled Alluring Eyes (see attached). In the canvas I chose pure primary colours side by side with the combination of computer transparencies of images emerging within the work. The objective was to make these images grow in and out of the canvas and move the images around at many different layers to create multiple densities of colour.