Proliferasian was composed in the Spring of 2001 for Orchid Ensemble. It consists of 37 measures of written music at a moderate tempo with syncopated 16th notes and melodic passages played by the erhu,and marimba, with the zheng playing a slower counter melody alternating with unison passages with the other two instruments. After the written music the ensemble utilizes sections of this composed material and expands the rhythmic and textual fabrics of the three instruments in four sections of improvisation. The improvisational requirements are quite demanding with numerous sound cues and several strategies for ensemble playing and solos with group accompaniment. After the improvisations are completed the group Da capos from beginning to the end of the composition.
The most challenging area for the ensemble improvisation is for each player to play with conviction in tempi independent of each other and be able to move their pulse where they best feel at any given moment, shifting freely within spontaneously improvised pitch repetitions. Yet the players must establish a rhythmic groove (albeit a groove with an angular nature) amidst all the available freedom. Within the temple of invention there must be an integration of ensemble solidarity. The Orchid Ensemble continues to make inroads in the mastering of this difficult musical undertaking.
This subtle characteristic of improvising within the context of Proliferasian is a term I call “Sweet Pea”. The musicians play from a focused awareness of their bodies in a relaxed and involved participation in the shaping of phrasing and the options to change tempo (gradually or all of a sudden) at any time. If the players happen to occasionally sync up to another’s tempo, fine. If there is no organic tempo syncing, that is also fine. And while each player is asked to improvise independently of the rest of the ensemble, the trick is to be able to subtly adjust one’s tempo/phrasing to where the composite group’s sound “grooves” for any adventurous listener. The same applies for the players: they should feel they are partaking of a journey with fresh discovered landmarks along their flight, where the excitement of experiencing the freedom of their own rhythmic “dance” and the solidarity of passionate reaction to the other improvising musicians creation.
Repetition of pitch phrases with a kinetic accenting of notes is helpful to the momentum of the music in the ensemble improvisation. I am interested in finding a new rhythmic groove for small ensembles to create in. I have been developing Sweet Pea since 1992.
