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Tesseract (solo version) (Download)
The hypercube – or “tesseract” – has been a commonly drawn-upon entity from which theorists conceptualize multiple dimensions beyond the three we percieve. Though this geometric figure has been associated with supernatural and metaphysical capabilities throughout literature and film, the tesseract is simply the four-dimensional analog of a cube similar to the relationship between a two-dimensional square and the three-dimensional cube.
Written for solo vibraphone and prerecorded mallet keyboards, Tesseract is the result of composer and percussionist, Francisco Perez’s exploration between the multiple aural “dimensions” unique to these instruments and the rhythmic capabilities they so naturally manifest. Rather than leading the listener through a programmatic narrative, the soloist acts as a sort of constant between the evolving layers and textures throughout, much like the tesseract serves as a point of reference to the fourth dimension.
Use of this product is governed by the license terms outlined here.
Tesseract is defined as “the generalization of a cube into four dimensions.” This 4th dimension has been puzzling scientists for over 200 years. Written for solo vibraphone and prerecorded mallet keyboards, Francisco Perez creates a composition of fascinating multi-dimensional sonic exploration that is sure to get some attention.
The expedition into both rhythmic acuity and sonic possibility are very carefully and adeptly displayed as the work unfolds. Conceptually, the idea of a percussion soloist performing with a “canned” ensemble is very interesting and intriguing, as Perez opens yet another chasm of Pandora’s box to endless possibilities with this “mallet ensemble in a carton” approach of composition. The score is presented with all markings being notated very clearly, including helpful cues that will aid the performer in aligning to where the prerecorded track is within the piece.
In making a mallet choice for this piece, the performer should first consider the space in which the performance will happen. The composer states in his performance notes that “the soloist [should] be another member of a balanced ‘ensemble’,” so the acoustical properties of the performance venue should be considered.
To perform the piece accurately, “Tesseract” will require an experienced musician with a well-established internal clock because of (A) playing with the CD, and (B) the ability to feel and interact with subdivision that is prevalent throughout this piece. At 11 minutes, this piece would work well on a senior or graduate-level recital.
—Marcus D. Reddick
Percussive Notes
Vol. 55, No. 2, May 2017
The hypercube – or “tesseract” – has been a commonly drawn-upon entity from which theorists conceptualize multiple dimensions beyond the three we percieve. Though this geometric figure has been associated with supernatural and metaphysical capabilities throughout literature and film, the tesseract is simply the four-dimensional analog of a cube similar to the relationship between a two-dimensional square and the three-dimensional cube.
Written for solo vibraphone and prerecorded mallet keyboards, Tesseract is the result of composer and percussionist, Francisco Perez’s exploration between the multiple aural “dimensions” unique to these instruments and the rhythmic capabilities they so naturally manifest. Rather than leading the listener through a programmatic narrative, the soloist acts as a sort of constant between the evolving layers and textures throughout, much like the tesseract serves as a point of reference to the fourth dimension.
Use of this product is governed by the license terms outlined here.
Tesseract is defined as “the generalization of a cube into four dimensions.” This 4th dimension has been puzzling scientists for over 200 years. Written for solo vibraphone and prerecorded mallet keyboards, Francisco Perez creates a composition of fascinating multi-dimensional sonic exploration that is sure to get some attention.
The expedition into both rhythmic acuity and sonic possibility are very carefully and adeptly displayed as the work unfolds. Conceptually, the idea of a percussion soloist performing with a “canned” ensemble is very interesting and intriguing, as Perez opens yet another chasm of Pandora’s box to endless possibilities with this “mallet ensemble in a carton” approach of composition. The score is presented with all markings being notated very clearly, including helpful cues that will aid the performer in aligning to where the prerecorded track is within the piece.
In making a mallet choice for this piece, the performer should first consider the space in which the performance will happen. The composer states in his performance notes that “the soloist [should] be another member of a balanced ‘ensemble’,” so the acoustical properties of the performance venue should be considered.
To perform the piece accurately, “Tesseract” will require an experienced musician with a well-established internal clock because of (A) playing with the CD, and (B) the ability to feel and interact with subdivision that is prevalent throughout this piece. At 11 minutes, this piece would work well on a senior or graduate-level recital.
—Marcus D. Reddick
Percussive Notes
Vol. 55, No. 2, May 2017
