Shiva in flagrante

The Facts of Creation

The Facts Of Creation

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Reviews
“…very moving and original.” No Transmission
“a masterpiece!” Null
“You are one of the 2% of artists to whom Couleurs Jazz Média has made a promise to share... Congrats!” Couleurs Jazz Média
“amazed that you're composing pieces that are nothing short of classical genius work.” Sandhya Surendran
“an elegant and moving piano piece that features a unique combination of pulsating rhythm and emotive expressiveness. We'll feature your music on the 59th edition of our radio show "Noitinha Groove." Rádio Armazém


Debate has long-raged over the primacy of reason or emotion in music. Aesthetic theory is divided into two camps: emotionalism on one side, formalism and contextualism on the other. Named for the mathematician Giuseppe Peano (1858 – 1932), this piece proposes a conclusion to that debate.   

Peano made outstanding contributions to the fields of logic and mathematics. Among them, the standard set of axioms describing the phenomena of natural numbers known as the Peano Axioms. Logic relies on fundamentals like "subject" and "negation" to make sense, but also and significantly, on structural elements of form, for example, proposition, argument, and conclusion. Music is more than similar. It makes sense by using fundamentals like melody, harmony, and rhythm, and formal structures like exposition, development, and recapitulation.   

Logic is built to express reason, and music—most of it anyway—expresses emotion, but words used in logic, like "negation," carry emotional meaning. Music, like logic, must make sense, but inherently, there is powerful reason in emotion. We may fall in love or become angry based on an illogical fallacy, but that is, nevertheless, the reason for our feeling. Conversely, and despite our fantasy of being capable of emotionless reason, there is powerful emotion in reason. So often, reason and logic are overtaken, if not obliterated by the far more powerful phenomenon of emotion. We would like to think we're guided by reason, but pit reason against emotion and emotion wins every time.  

In place of the usual emotional expressions used in scores to guide performance, like "con calore" (with fervor), this score uses terms of logic like "predicate" and "conclusion" to argue the issues at hand. In this piece, my conclusion to the argument comes in the final section to be played in the manner heard in a sweaty Cuban nightclub where the piano player has hands too big to fit the keys and emotions too big to be bound by reason.

Score available at: 
https://www.scoreexchange.com/scores/84263.html

Chamber Music

The Peano Propositions

with Acidbat "Spider & The Bat"

My Heart Went Boom

Lotus

7.   The Dragon’s Dance 4:43
      The Orchard

Clare labors in an orchard, picking peaches under burning afternoon sun. Wipes sweat from her brow. Hears a rustle in the bushes, looks, but nothing’s there. She guzzles water, then back to work. 

A cloud drifts to create golden light rays that reveal the Dragon in hiding, watching her. He disappears in shadow. She rubs water on the back of her neck. A branch breaks—startles her. She grabs her picking-pole and demands whoever’s there show themselves. From behind a tree, a pompous rich man appears and strolls up the road in an embroidered cape and gaudy hat. He flirts. She’s annoyed. He displays his fabulous jewelry. She’s not interested and goes back to work. He dances, inviting her to join him. She’s got baskets of peaches to load on her cart. He continues flirting and dancing. She waves him off. He puts his hand to his heart, feigning heartbreak, bows graciously, and saunters down the road until she turns back to work, then he seems to magically vanish. The audience sees this. She doesn’t. 

A dazzling Flamenco Guitarist appears from where the Rich Man vanished, dancing passionately and caressing his guitar like a lover. She watches, amused. Mimics his fancy footwork. Challenged, he launches into a fantastic display of virtuosity and seductive intent. He finishes in a dramatic pose, gives her the eye. She mimics his flashy finish, then gestures for him to be on his way. He’s indignant, makes a rude gesture and heads down the road. As she turns back to work, he vanishes into the setting sun, but from its red orb, now sitting on the horizon, we see a Gypsy appear, dancing with a tambourine. 

He charmingly dances around her, asking her to join him, but she’s got work to do and the light’s fading. As she turns her back to pick up a bushel, he waves his hand and magically loads all the rest. She turns to see him leaning on the cart—all the baskets loaded. She’s amazed. He jokingly  gestures he’s a strong man. She’s taken with him. They dance, clowning around. His disguise suddenly falls off, revealing the Dragon. She stumbles back in horror, smacks her head on a tree branch and slumps to the ground. He helps her up. She insists she’s fine, staggers a few steps, then swoons. As he catches her, she throws her arms around his neck for support and passes out. He lovingly lifts her into his arms just when...

The Dragon In Love

The Dragon's Dance

7. The Dragon's Dance

Composer - California, USA
View Scores at:
http://www.issuu.com/jacquesbailhepublishing
Buy Scores at:
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ASCAP

7. The Dragon's Dance

Jacques Bailhé

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