for solo piano
2008 | ca. 9 min.
 Selected for inclusion in the 2010 Society of Composers, Inc. National Conference
 Selected for inclusion in the College Music Society 2009 Mid-Atlantic Conference Composer’s Concert
f.p. 6 Jun./08; Subsequent: 5 Sep./08, Salisbury University, MD, USA; 20 Mar./09, CMS Mid-Atlantic Conference: Composers Concert, George Mason University, VA, USA. Robert Baker (pno.)
Valence I (composed in 2008) embodies both continuous and discontinuous qualities with regard to its discourse and form. It is on a large-scale non-directional; fermatas, interruptions, and a lack of developmental discourse characterize the work as a whole. However, many of the numerous passages that comprise the work's structure bear local-level directional qualities; use of motive, cadential gestures, and short-term processes. I believe this continuous-discontinuous formal quality enables a listener to potentially engage in a much freer interpretive process with regard to conceiving musical form than they otherwise might when considering a work of exclusively continuous nature; without clear implications of connectedness and linear order, more objective (even less likely) considerations as to the qualities of relatedness within the work may more likely be made. Furthermore, a listener must face the matter of perceived degrees of repetition and the questions that inevitably arise, such as: Might this repeated material be an A section? Does its re-appearance articulate the form, despite a non-directional quality? How long has it been since its last appearance, what has occurred in the meantime, and does this weaken or strengthen its formal weight? Thus a listener is free, indeed encouraged, to construct, or reconstruct, one or more interpretations of the form of this work; each of which is true, and all of which are ever-present in a paradoxical multiply-superimposed musical form.