Note:

In my string quartet Contrafact, I was interested in a form that gradually transitions between musical states. The opening of the piece moves from a state of mostly unpitched sounds to precise microtonal pitches. Once pitches are introduced, the harmony moves from quarter tones to just intonation pitch material. The macro-level gesture of the piece is an overall ramping-up of harmonic rhythm and textural density. The culminating fast section is the point at which these elements reach their apex. 

The word Contrafact refers to the practice of creating a new musical work that uses elements of a previously existing work. The word most commonly refers to the jazz tradition of overlaying a new melody on familiar chord changes. My piece references this tradition by incorporating material derived from the works of John Coltrane, McCoy Tyner, and Esperanza Spalding. The most audible of these references is the chord progression from Coltrane’s 26-2, which appears at the climax of the piece. My goal with these references was to create a fusion between the influence of these musicians and my interest in exploring microtonal harmony.