A Chrysalis describes something in a state of change.  An example is when a caterpillar changes from its former shape to that of a butterfly.  This idea of mutation and existing amidst two very different shapes is what I focused on in this piece.  The change does not only occur once, but many times and on many different levels.  Some changes, like that of the butterfly are very dramatic and turbulent, while others are much more subtle.  The idea of a scattered, diffused texture shifting toward a more unified, focused oneness is explored several times during the piece.  Some changes are very quick and occur on the surface while others are rooted in a deeper level such as form, where the actual change requires the entire piece.  Harmonically, the piece is almost entirely based on a single, "melodic" line.  To build vertical harmony, and expand outward along an imaginary "z" axis, I simultaneously present different durational versions of the line.  The extremes of this multiple projection range from every member of the band playing the same thing to complete independence of part.  This piece spends most of its time exploring the actual shifting within the extremes.  The use of a  computer is incorporated in this piece for several reasons, all of which have to do with expanding possibilities of time, timbre and dimension.  All computer music was derived from recording individuals and the entire ensemble playing the piece during rehearsals, and then changed using many of the software applications available today.  The first possibility which the computer is capable of expanding is the notion of multiple projection.  With its ability to compress and stretch, through synthesis, I  was able to compose many sounds which are actually lengthy sections of the piece but happen within a matter of a few seconds, and vice versa.  Through methods of cross-synthesis and convolution, I was able to elaborate on the aspect of timbre and create blends of instrument color.  Lastly, the computer allowed me to explore a multi dimensional approach to form.  I composed many sounds and sections of computer music which are composite moments taken from different sections of the piece.

Daniel Hope