MICHAEL HARRISON

Revelation has twelve interconnected sections in various key centers. Originally, the main thematic material for most sections of the work was composed but the resonant tone clouds incorporated structured improvisation using a set of pre-determined pitch relationships, rhythmic patterns and ostinati to develop a complex sustained harmonic resonance with unusual acoustical effects. In order to optimize these effects I wanted to be flexible enough to vary what I was playing in response to what I was hearing. The exact nature of these effects would vary according to resonances of the instrument, the precision of the tuning, the acoustics of the performance space, and even variations in temperature and humidity. However, while working on a score that would enable pianists other than myself to play the work, I eventually decided to notate the tone clouds, with their complex, shifting rhythmic patterns. As I scored the work, I found that I could more fully develop the themes and material by writing everything out rather than leaving the development to the discretion of the performer.