in all the chicken-scratch-notes i have about this piece of music, i have written in the presence of a heartbeat. the pulse that spans the entire 6 minutes 14 seconds, this heartbeat starts the piece. it is throughout the piece. it ends the piece. it is no accident that this composition seems interminable, ever returning to the theme; figuring “it” out often seems that way, a curse of perseverating analysis paralysis, depending on what “it” is.
i just erased what i had next written about this. i couldn’t help but talk about my repeated use of a rising leading tone gesture in the theme, f# to g, f# to g, off the beaten major root path, but instead the path of starting on my ever-loved ninth in the e minor key, a key that resonates so often with people. then i thought, “blahblahblah!!” geeeesh. that’s way too much information. so i erased it. (yes…there were even more details before i erased it!)
i composed this at a time that was laden with things to sort, to figure out, to resolve. it is one of the longest pieces i have recorded. there are moments you can hear the almost-there-ness of it, but, like life, it reverts back to the initial themes, the initial questions. and then, punctuating it, from time to time, a firm melodic gesture (f#-g-f#-e) where you can hear the lyrics in your head, “figure it out.” much easier said than done, eh? but our hearts keep beating.
FIGURE IT OUT from RIGHT NOW ©️ 2010 kerri sherwood