"CROSSTALK" (1994)

"Crosstalk" for Eb Alto Saxophone and CD was composed over a two month period at the end of 1994. The composition is in three contiguous movements which, although stylistically quite diverse, share a common thematic bond and certain common timbral characteristics (the most obvious being the solo saxophone and a good pair of loudspeakers!).

The first movement, "Be-bop" is a sort of characature of a live performance (which is rather ironic since the work is being performed 'live'). The introductory opening features a crowd sample, 'your's truly' announcing the piece, and the ultimate in live performance mannerisms - a count down. Of course all of this serves the practical purpose of telling the solo sax player exactly when, and how fast to start playing. The entering sax works its way through a rapid repeated note section to a statement of the principle theme which is first heard against a driving 5/8 meter. This overtly stated twelve-tone theme is used as a highly adaptive entity: it can be heard at least a couple of dozen times throughout the course of the entire composition. The theme is readily identifiably because of its unchanging pitch and interval structures, however it is rhythmically, texturally and timbrally adapted to the changing stylistic contexts in which it appears. A semi-improvisitorial cadenza sets the stage for the second movement: "Bloop-beep", a phrase that has been used by authors and music critics to characterize the early Electronic music of the 1950's and 60's. The movement features an antiphonal interplay between the live sax and pre-recorded timbres which erupt into an "in your face" climax. Following the climax, an obligatory transition leads to the third and final movement, "Flashback". "Flashback" brings back some of the opening timbres and asymmetrical meters but at a more relaxed tempo and with a thoroughly tonal "tune". The tonal simplicity of this last movement is an ideal backdrop for a series of flashback sequences in which previously heard portions of the composition are faded in and out against the sax solo.

All the pre-recorded sounds for "Crosstalk" were generated and performed, in one form or another, using only a Kurzweil K2000S synthesizer/sampler. Other equipment included a Macintosh Computer with Master Tracks Pro 5 sequencing software, an Alesis ADAT multi-track digital tape recorder, a J.S. Cooper DATAsync synchronizer, and a Panasonic SV3700 DAT recorder. A Carvin MX1688 mixing board was used for the final mix. The mp3 excerpt features Mike VanArsdale on Saxophone.

Nikola Resanovic