PATTERN PRELUDES

1. Moderato; smoothly (after Bach)
2. As quickly as possible, chirring
3. Slowly; delicate thrumming (after Chopin)
4. Very swiftly; restless, agitated
5. Slowly; lyrically (after Debussy)
6. Quickly; vibrant, full of life

‘Pattern’ pieces abound in the piano literature, pieces constrained by a single idea (usually a rhythmic or textural ostinato) through which a composer expresses a narrowly focused thought. Patterning is especially well-suited to preludes, which are by convention short, concise and introductory. Most of the patterns in these six preludes are immediately identifiable: a repeated-note motive in no. 2; asynchronous cascades between the hands in no. 4; and a gesture bouncing between interlocked hands in no. 6. In addition, three of the pieces give a nod to other famous preludes in the piano repertoire. No. 1 is a gloss on what is likely the most famous prelude ever written. Within an innocent arpeggio, Bach skillfully intertwines several rhythmic patterns, something exploited in my paraphrase. No. 3 takes its cue from Chopin’s Op. 28/4, which every student of harmony knows (and which a professor of mine once called the epitome of “creeping chromaticism”). No. 5 was written as a retirement gift for my high school music teacher, whose lessons were inspirational preludes to my own study of music. In mood and phrasing it echoes some well-known Debussy preludes. Pattern Preludes was written for Calogero Di Liberto, who gave the work its premiere on October 5, 2005 in Houston, TX.