Unsaid begins with a spiraling ascent up the fingerboard that peaks, stops, and then restarts. From then on, the piece makes use of similar frequent and abrupt textural shifts and interruptions, although the larger flowing through-line is upheld. As the meter varies throughout, bar-lines more-often delineate phrase boundaries. The tempo markings do not need to be maintained strictly; however, both the general rapidity and the proportional relationships between them should be observed and rehearsed.
While writing Unsaid, both my grandmother and grandfather passed away and I wrote the piece thinking about the beautiful life they shared. I am grateful to Alex Lassa for being a wonderful collaborator and guitarist, as well as to the Twisted Spruce Music Foundation for bringing us together for this project.
top of page
bottom of page