A Separation from Stream of Consciousness

While working on A Separation from Stream of Consciousness, I sent many messy drafts, listened to copious amounts of progressive metal, and studied a lot of solo cello music. I wanted to combine the many aspects of music that I was interested in at the time: repetitive themes, the cello’s open C string, a favorite pop harmonic chord progression, and some pulsing rhythmic ideas. It was one of the first concert pieces where I felt truly connected to my process while writing it, and felt that each section had intention. In some ways, the title of this piece reveals a sort of truth about my process, while simultaneously contradicting itself. Looking back, I ultimately didn’t detach myself from my typical stream-of-consciousness, through-composed method, like I had originally intended. However, by utilizing aspects of my musical experience that I enjoy and am familiar with, combined with Joshua DeVries’s attention and interpretation in our collaboration for the premiere, I discovered more about my own musical process.