{"title":"CHAMBER","description":null,"products":[{"product_id":"bouquet-an-open-ended-sonata-for-flute-and-piano","title":"Bouquet: An Open-Ended Sonata for Flute and Piano","description":"\u003cp class=\"p1\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/n3ban2m3jfximt14l610e\/AJ1SwUfNUWvSi-0BJSDBgRw\/Bouquet%20PERUSAL%20SCORE%20-%20Maxfield_%202.pdf?rlkey=oqf2tpeh45bgvhll3lelgpez9\u0026amp;st=u81wugu5\u0026amp;dl=0\" target=\"_blank\"\u003e\u003cstrong\u003eAccess a perusal excerpt here.\u003c\/strong\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eIn 2019, flutist Catherine Boyack led a consortium commission for a new collection of miniatures for flute and piano, each themed on one of her favorite flowers. The collection is called \u003ci\u003eBouquet\u003c\/i\u003e and, as of this printing, contains three flower-movements: “Queen of the Night Tulip,” “Indian Paintbrush,” and “Mountain Bluebells.”\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e“Queen of the Night Tulip” is a deep violet, nearly black, heirloom tulip. And yes, this movement naturally, irresistibly plays with quotations from the “Der Hölle Rache” aria from Mozart’s \u003ci\u003eDie Zauberflöte\u003c\/i\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e“Indian Paintbrush” is a delicate desert flower with a sturdy stem, common in the Western U.S. Here, three flowers meet the sun as is rises over the stark, ruddy, landscape.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e“Mountain Bluebells” are clusters of tiny, down-turned blue-violet flowers on thick green shrubs. Looking closely, the Bluebells themselves may move rapidly in the wind. Stepping a few paces back, the motion of the individual flowers is lost in the rustling blur of the whole bush itself. Here, we zoom in and out, in and out, in and out. \u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eBouquet\u003c\/i\u003e is an “open-ended commission,” and other flowers will be added over time. All participants in the commission at any stage, as well as flutists who purchase the piece at any time, receive each new miniature, as the collection grows. And, in the spirit of arranging a bouquet, the performer may choose the order in which to play the miniatures, and which to omit. (Want to commission an additional movement? \u003ca rel=\"noopener noreferrer\" title=\"Contact Andrew Maxfield\" href=\"https:\/\/andrewmaxfield.org\/pages\/contact\" target=\"_blank\"\u003eContact me\u003c\/a\u003e.)\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eWith gratitude to the commissioners of this collection, I also dedicate it to my mother, a flutist and flute teacher, who instilled in me a lifelong passion for music and a love for the sound of the flute.\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e—Andrew Maxfield\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCambridge, MA\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e2019\u003c\/p\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":31533060915246,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/products\/Bouquet.jpg?v=1578453965"},{"product_id":"pantone-367c","title":"Pantone 367C","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cb\u003ePantone 367C\u003c\/b\u003e\u003cspan\u003e was composed for Hub New Music and premiered at Boston Conservatory in Spring 2019. I had heard once that Nadia Boulanger would ask her students, as a compositional exercise, to harmonize a whole-tone scale with only minor seventh chords—so I decided to try it. The result had a certain consistency of \"color\" since the harmonies were similar. I decided to play with this harmonic coloring and self-similarities, while applying jazz reharmonization techniques to the progression I had invented. Ultimately, I decided the piece was \"about\" subtle fluctuations in that color. While I didn't start with a particular visual color in mind, I decided \u003c\/span\u003e\u003ci\u003eex post\u003c\/i\u003e\u003cspan\u003e to assign the piece a color name, and turned to the Pantone book to find just the right shade of nearly Kermit green: Pantone 367C. Does the piece sound green to you? \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/hvhOakCNYoQ\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":31643035828270,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/products\/Shopify_sheet_music_thumbnails15.jpg?v=1580252893"},{"product_id":"pet-suite","title":"Pet Suite","description":"\u003cp\u003e\u003cstrong\u003eSolo Piano\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWe live in a strange world, friends! With a few taps or clicks we can listen to recordings of just about anything ... from Palestrina to Daft Punk and everything in between, in every direction. And I do! \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIsn't it cool and fun and amazing?! How does that impact me as a composer? Well, for instance I'll be humming a line from a De Lassus motet and it will morph into a line from a Stevie Wonder song. I'll be writing a serious orchestral piece and I'll think to myself, \"Ohh, you know what this needs? A Gil Evans moment!\" (Gil was a famous jazz arranger, notable for his work with Miles Davis.) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eI've loved Debussy's music from the time I was a young piano student. Debussy was a \u003c\/span\u003e\u003cspan\u003erule\u003c\/span\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003ebreaker\u003c\/span\u003e\u003cspan\u003e ... but a very informed, skillful, creative \u003c\/span\u003e\u003cspan\u003erule\u003c\/span\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003ebreaker\u003c\/span\u003e\u003cspan\u003e, which is probably why he succeeded so well. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnother of my favorite \u003c\/span\u003e\u003cspan\u003erule\u003c\/span\u003e\u003cspan\u003e-\u003c\/span\u003e\u003cspan\u003ebreakers\u003c\/span\u003e\u003cspan\u003e is Brian Wilson, one of the founding members of The Beach Boys and the mysterious genius behind their landmark album \u003c\/span\u003e\u003ci\u003e\u003cspan\u003ePet\u003c\/span\u003e Sounds.\u003c\/i\u003e\u003cspan\u003e Wilson knew the \u003c\/span\u003e\u003cspan\u003erules\u003c\/span\u003e\u003cspan\u003e of Southern California surfer rock so well that he knew how to break them in revolutionary, ear-tingling ways. How did he break them? By applying techniques and instruments that he heard in Debussy's classical world! (Wilson says Gershwin was a huge influence too.) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn totally different worlds, Debussy and Wilson were each trying to say something new and interesting by playing in the borderlands between styles, by rearranging familiar material in unfamiliar ways. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven with all of that said, I can't really explain why it occurred to me one day that I could re-compose Debussy's \"Prélude\" (from \u003c\/span\u003e\u003ci\u003e\u003cspan\u003eSuite\u003c\/span\u003e Bergamasque) \u003c\/i\u003e\u003cspan\u003eusing melodic and harmonic material from \u003c\/span\u003e\u003ci\u003e\u003cspan\u003ePet\u003c\/span\u003e Sounds.\u003c\/i\u003e\u003cspan\u003e But that's what I did: the piece follows the \u003c\/span\u003e\u003ci\u003e\u003cspan\u003ePet\u003c\/span\u003e Sounds\u003c\/i\u003e\u003cspan\u003e album song-by-song from beginning to end. (And bonus points if you notice one quotation from the album \u003c\/span\u003e\u003ci\u003eSmile! \u003c\/i\u003e\u003cspan\u003ealso.) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUnless you know \u003c\/span\u003e\u003ci\u003e\u003cspan\u003ePet\u003c\/span\u003e Sounds\u003c\/i\u003e\u003cspan\u003e well, you might not notice every detail, so instead, I invite you to imagine two of your friends—in this case Claude and Brian—laughing with each other as they play pinball. Or something like that. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/wG6jX7VMQec\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":31777842692142,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/products\/Shopify_sheet_music_thumbnails16.jpg?v=1583274825"},{"product_id":"tigerlark","title":"TigerLark","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eI play a game with my kids in which we mix up animal names, and thus we stumbled on the \"tiger lark.\" And what a name! In this brief string quartet, you hear two primary forces wrestling. Which one is the tiger and which is the lark? Which is my then-five-year-old and which is my then-three-year-old? You decide.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/j9oEVPg0XfM\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":31860339998766,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/products\/Shopifysheetmusicthumbnails17.jpg?v=1585251421"},{"product_id":"lift-where-you-stand-solo-piano","title":"Lift Where You Stand (solo piano)","description":"\u003cdiv class=\"page\" title=\"Page 3\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis intermediate solo piano work was jointly commissioned by Utah Music Teachers Association and Music Teachers National Association in 2025. It was premiered on October 24, 2025 in Lehi, Utah. The following video features Tanner Jorden. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"column\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"column\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/X3jajAwyuVY?si=CstLRgnLcAh_MHUR\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eABOUT THE PIECE\u003c\/strong\u003e\u003cbr\u003eWriting an intermediate piano piece has been a happy challenge because it has reminded me of when I was a young (and intermittently diligent) piano student. I thought of young Andrew as I wrote. What would I have loved to play back then? What do I wish I would have known or what would I tell my younger self? \u003c\/p\u003e\n\u003cp\u003eMusically, the three short movements of this piece simply explore material I think young Andrew would have enjoyed playing. \u003c\/p\u003e\n\u003cp\u003eThe first movement is based on bluesy canon. We hear the theme first in octaves, in both hands, and then in canon. If it had a key signature, it would have one sharp and one flat—a sound called the \"acoustic scale,\" which is a concept I wish I had encountered much earlier, and which Bartók introduces to young musicians without hesitation in \u003cem\u003eMikrokosmos.\u003c\/em\u003e This movement also shifts between simple and compound meters (always with a constant eighth note), since hearing-feeling \"short beats\" (groups of two) and \"long beats\" (groups of three) becomes useful in making sense of groove, jazz, and so much other exciting music. It's also full of fun riffs, scales, chord voicings, and alternating LH-RH patterns that I'm pretty sure young Andrew would have loved. \u003c\/p\u003e\n\u003cp\u003eThe second movement has a modal flavor. It wasn't until I started playing Debussy and jazz that I realized there were magical (modal) lands between the major and minor scales I encountered in Hanon, for example. The sparse counterpoint in this movement invites the pianist and listener to hear-feel the modal \"tendencies\" of each interior line and also introduces techniques like planing.\u003c\/p\u003e\n\u003cp\u003eThe last movement reminds young Andrew that the piano is, indeed, a percussion instrument. Drummers recognize the opening rhythmic pattern as a paradiddle, and I wish young Andrew had learned drum rudiments along with piano technique to solidify a deep, internal time-feel and sense of groove. (I'm still working on that.) This movement also turns \"scale\" into \"walking bass,\" and plays with extremes in range (every pianist wants an excuse to play that low B♭!) and in dynamics.\u003c\/p\u003e\n\u003cp\u003eFinally, if I could tell young Andrew something, I'd say: be where you are; pay attention; and lift where you stand. In any age, but especially in the \"attention economy\" (i.e., the distraction economy) and the era of digital everything, it's easy to be anywhere but where we actually are, robbed of our attention, and thus our ability to offer the good the world needs from us. Playing and writing music cultivates our capacity for attention, which is its own reward and which leads to many others.\u003cbr\u003e—Andrew Maxfield, 2025\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eSpecial thanks to Dr. Carmen Hall for providing the fingerings featured in this edition.\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":41522626527278,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/files\/Lift_Where_You_Stand.jpg?v=1770320365"},{"product_id":"shape-language","title":"Shape Language","description":"","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":41522626887726,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/files\/shapelanguage.jpg?v=1770319833"},{"product_id":"this-is-about-breathing-and-walking-solo-flute","title":"This is about breathing and walking (solo flute)","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/n3ban2m3jfximt14l610e\/ALuvcXeLsok546Gc0SVDcUA\/This%20is%20about%20breathing%20and%20walking%20PERUSAL%20SCORE%20-%20MAXFIELD%20-%20YCR0057%202.pdf?rlkey=oqf2tpeh45bgvhll3lelgpez9\u0026amp;st=rxtumqay\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cstrong\u003eAccess a perusal excerpt here\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThis piece is, literally, about breathing and walking. Rather than being a soaring, flutey narrative with a long, thoroughgoing arc, think of it as an \u003cstrong\u003eétude, which facilitates embodying rhythm.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst, about walking.\u003c\/strong\u003e If you can manage it and want to, you should step side to side throughout the duration of the piece. You can start walking (in place, assuming you’re looking at sheet music) for however long you want, to establish the pulse (for yourself, for the listener) before you start playing the flute at the pickup to m.1. As is noted in the score, you may optionally wear lightweight (i.e., relatively quiet) ankle bells on one foot—whichever foot is on the backbeat. I think that stepping as notated (in half notes) creates optimal space for feeling syncopation and groove, but if stepping in quarters makes things more manageable for you, do that instead (though maybe without the ankle bells if the jingle gets too busy). The idea is that you are and enjoy being your own profound metronome as you move from side to side. But rather than thinking “metronome” as in “computer,” think of “metronome” as in “drummer” or “musical heartbeat.”\u003c\/p\u003e\n\u003cp\u003eRegarding your walking speed (call it “tempo” if you like), notice the “optional path” through the piece. If you choose this path, increase your walking pace from approximately m.47 through m.91 to a personal maximum walking speed (think “brisk”). Then, begin relaxing your pace from approximately m.94 through m.130, at which point you have returned to your initial tempo. See how it feels.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSecond, about breathing.\u003c\/strong\u003e This piece is about breath patterns and feeling syncopations, which is to say it’s about embodying groove. In two measures of 4\/4 (in duple beat divisions), there are always 16 underlying eighth note pulses. Any combination of four dotted quarter notes and two quarter notes will fill those 16 slots, but the order defines a unique rhythmic pattern. For example, a 333223 grouping (three dotted quarters, followed by two quarters, followed by one dotted quarter) produces a pattern that is fundamentally different from 333322. And the difference between them, though small on paper, can be thrilling musically. (And the older I get, the more exciting these details become.)\u003c\/p\u003e\n\u003cp\u003eThere are 15 possible combinations of four dotted quarters and two quarters: 333322, 333232, 332332, 323332, 233332, 233323, 233233, 232333, 223333, 332233, 323233, 322333, 332323, 323323, and 333223. For a fun rhythmic exercise, step side to side and clap each of this groupings, repeating each pattern until you feel the unique groove “signature” of that pattern. For an added bonus, you can vocalize the “long beats” (dotted quarters) with the syllable “dum” and the “short beats” (quarters) with the syllable “tek.” You’ll notice that some patterns (any pattern whose first three digits add up to 8) represent two, sequential single-measure patterns (i.e., short forms, like 332:332), while other patterns are hypermetrical (indivisible at the bar line) and require two full 4\/4 measures.\u003c\/p\u003e\n\u003cp\u003eThis piece doesn’t attempt to be encyclopedic about these permutations (as fun as that might be?), but rather makes a simple journey through six groupings, labeled Groove 1 through 6, in this order: 333223, 332:233, 322333, 223333, 233:332, 333322. The first, third, fourth, and sixth are hypermetric long-form groupings. The second and fifth (marked with “:” above), making something of an arch form, are short-form rhythmic palindromes. I just happen to like palindromes.\u003c\/p\u003e\n\u003cp\u003eFinally, the form. The form of this piece follows a recipe that flows from the rhythmic permutations, and it’s marked explicitly in the score. For each groove (except the last), there is a presentation of a simple melody followed by an exploration of the rhythmic pattern, which determines the tonguing and breathing. The piece is about breathing and walking in time, and about noticing, embodying, and hopefully enjoying each syncopation and the underlying grooves.\u003c\/p\u003e\n\u003cp\u003e1) Within each Groove Exploration, you’ll see two-measure units within repeat signs (see the first instance at mm.17–18). Repeat these units as many times as you want to—as long as it takes to notice, embody, and enjoy the underlying groove. You’re in the driver’s seat, and your satisfaction and interest are what matter.\u003c\/p\u003e\n\u003cp\u003e2) You’ll see bars of rest (e.g., m.22) here and there. Those bars are truly meant to be bars of rest. You can rest (your flute) for however long you want as long as your feet keep moving, and as long you rest for an even number of beats so that the underlying sense of walking and strong-weak beat groupings remains the same. In fact, hearing the steps is part of the piece, and you can re-center yourself in your walking at any point for however long you want. In pauses between phrases (like the first three beats of m.8) or in longer breaks (like mm.145–46), the audience is drawn back from a melodic plane to the rhythmic plane, and that's just part of the journey.\u003c\/p\u003e\n\u003cp\u003e3) If you need extra breaths within the Groove Explorations, especially if you repeat two-bar units multiple times, drop the final eighth note from any two- or three-note grouping to sneak a catch breath. The goal is to always align the breath\/ tonguing attacks with the rhythmic groupings as marked.\u003c\/p\u003e\n\u003cp\u003e—Andrew Maxfield, 2024\u003c\/p\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":41522627543086,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/files\/Thisisaboutbreathingandwalking.jpg?v=1769717168"},{"product_id":"kidney-heist","title":"Kidney Heist","description":"\u003cp\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/n3ban2m3jfximt14l610e\/ADc1ml240FUcl6pzEUnuB1Q\/Kidney%20Heist%20PERUSAL%20SCORE%20-%20Maxfield%20v1%20-%20YCR0052.pdf?rlkey=oqf2tpeh45bgvhll3lelgpez9\u0026amp;st=aaqbl0nf\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cstrong\u003eAccess a perusal excerpt here.\u003c\/strong\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFor piano, cello, and 2 \"anxious whisperers\"\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis zany piece re-tells the fabulously unsubstantiated \"kidney heist\" urban legend, which I encountered in the book \u003cem\u003eMade to Stick\u003c\/em\u003e by Chip Heath and Dan Heath (Random House, 2008).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAlthough the story of the \"kidney heist\" sounds serious and ominous, it's \u003cem\u003etotally fabricated\u003c\/em\u003e. So—this is \u003cem\u003enot\u003c\/em\u003e a cautionary tale about date rape or other legitimately worrying topics. This is an absurd reflection on the absurdity of urban legends: ideas that are so sticky that they self-propagate, no matter how nutty.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1) WHISPERERS. This piece is meant to be performed with a minimum of two \"whisperers,\" which means people who are whispering into microphones. The audio signal can be enhanced (ad lib) with delay, echo, reverb and other effects so long as the words are intelligible. The mix should be adjusted so that the whispers feel like whispers (to the audience) relative to the acoustic performance by the piano and cello. The whisperers can be on- or off-stage and cued or not cued by an optional music director. More than two whisperers can join the fun to create a thicker texture, and additional whisperers simply perform an ad lib version of either notated Whisperer part. But intelligibility is what matters.\u003c\/p\u003e\n\u003cp\u003e2) WORD RHYTHMS. Some whisper rhythms are notated. Even these can be delivered approximately, so long as the basic flow of the piece works. Text passages in boxes are meant to be delivered freely (with any amount of narrative and dramatic license) and at a normal conversational pace.\u003c\/p\u003e\n\u003cp\u003e3) BRACKETED TEXT. In the text, some words appear in [square brackets]. These indicate details of the whispered story, like the gender of the characters involved and where events occurred. Whisperers, please customize the story you spread to your liking, and feel free to disagree with and contradict other whisperers. Not only can you customize the bracketed bits, but you can change any words to be more exactly how you would tell the story. Make it vernacular, personal, and ... sensational.\u003c\/p\u003e\n\u003cp\u003e4) BONUS POINTS ... for having fun! For example, the players (or whisperers) could conceal a short length of surgical tubing until the very end of the piece, at which point they reveal the tubing coming from their lower backs because—well, you never know...\u003c\/p\u003e","brand":"Andrew Maxfield, Composer \u0026 Producer","offers":[{"title":"Default Title","offer_id":41522627739694,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0037\/3715\/7678\/files\/kidneyheist.jpg?v=1769717477"}],"url":"https:\/\/andrewmaxfield.org\/collections\/chamber.oembed","provider":"Andrew Maxfield, Composer","version":"1.0","type":"link"}