The new Sunday night 10 o’clock [update: beginning 2 Nov 2013, Saturday night at 9 pm] show on WRTI (HD2 and streaming) ought to have theme music, I thought, so I started looking through works of mine, as with the theme for Discoveries from the Fleisher Collection, to see if anything would ﬁt.
I looked over everything that had survived ritual burning up to that point, and the only piece that came close was a curious Four Hymns for Four Guitars, written in, wow, 1985 for the amiable Philadelphia Guitar Quartet. Wonderful guys all, astute musicians, and very helpful when I was working on it. Turns out when we moved from Manayunk to Mt. Airy we ended up a couple blocks away from Bill Ghezzi of that Quartet, who then commenced to move onto our street with his family. When they found out I lived there, they moved to New Hampshire.
Well, not right away…we worked on these hymns and a Totentanz and a Mazurka I wrote for him. Then Dartmouth hired his wife and him away from us. And that’s why he moved. Seriously, Bill’s terriﬁc: here he is playing the Totentanz.
But the Quartet played the Four Hymns some, including on a WHYY Radio Community Concert. I still liked it, including the beginning of the third hymn, “No, Not One.” It’s an old gospel hymn, known from its opening lines, “There’s not a friend like the lowly Jesus. No, not one! No, not one!”
I was trying out the manipulation of pitch aggregates, as I recall. No, I’m kidding. Nobody says, “manipulation of pitch aggregates.” No, I’m kidding. A lot of people say “manipulation of pitch aggregates,” all of them composers who have been to college, and I think for a month and a half I said it, but it means absolutely nothing—nothing more than “I was shoving notes around,” or (here’s a thought) “I was composing”—but some folks like to throw “aggregates” around, you bet, so don’t say I didn’t warn you.
For me, I just liked how you could mix up a five-note scale in pretty much any order (many gospel tunes are constructed from five-note scales), you could then use that mix to accompany the tune, and if you slowed it all down, it sounded kind of pretty. For a while. In this piece, you can hear the tune in low, punctuated, held notes, too slow to recognize the tune, but a cantus ﬁrmus with curlicues of arpeggios cascading off of it.
So that’s what I chose for the theme music. But the only recording I had was an old cassette tape of that community concert, and what with the hiss and the baby that kept crying in the audience, I went back to the drawing board and now, après-1985 and with a computer and software and everything, re-notated the beginning of that movement (not caring how it looked, really) and made a synthesized playback with, ooo, “classical guitar” sounds on it.
But it sounded fake and certainly not as good as four real guitars played by four real guitarists, so I started replacing, and adding, and editing instrument sounds. A weekend later I had a minute and change of 12-string and pedal steel guitars, pizzicato acoustic and Rickenbacker basses, long-decaying marimbas, and other whatnots: an entire orchestra of made-up sounds in pentatonic mode that had enough goofy sparkle for a theme but enough wallpaper to yak over.
It also is stylistically neutral enough, I think, to serve as an adequate introduction to a show featuring all kinds of new music. I hope you like it, and if you get a chance to listen to the show, I hope you like that, too. I’m having fun putting it together, and thanks to WRTI for supporting contemporary American music.
Here is the theme, minus my yakking over it: