I am fascinated by canons, especially canons that don't sound like canons. This gave rise to the idea of having a pitched instrument interact canonically with unpitched percussion. In this piece, the canon is further blurred through hocket-like, and unison passages. The rhythmic separation between the parts decreases as the piece progresses, until the very end where the canon "breaks" and the two performers end together.
|John Secunde, Composer||