This work takes on the idea of developing simultaneously two separate pieces juxtaposed side by side. The two disparate pieces (one dealing with high, fast microtonal passages; the other dealing with slow timbral transitions) are unified by similar pitch materials based around a C- fundamental harmonic series that transforms into an E-fundamental harmonic series). Electronics are used to twist and transform the timbral shadings that occur in both compositional streams. A notational system of colored lines is used to indicate specific elements of timbre control throughout the score.
Philip Schuessler’s music explores the intricacies of subtle timbres and delicate dynamics through extended acoustic and electro-acoustic resources. Many world-renowned artists and ensembles such as Yarn/Wire, Timetable, Mantra Percussion Ensemble, Dither Guitar Quartet, iKtus Percussion, violinist Graeme Jennings, cellist Craig Hultgren, and soprano Tony Arnold have championed his music. His works have been performed at numerous festivals, conferences, and workshops including the June in Buffalo Festival, Festival Miami, the Czech-American Summer Music Workshop at Florida State University, the CCMIX Summer Intensive Course in Electronic Music in Paris, the Oregon Bach Festival, New Music Forum in San Francisco, and the nief-norf Festival in Charleston, South Carolina. His mentors have included Charles Mason, Dorothy Hindman, Dennis Kam, Keith Kothman, Daria Semegen, Sheila Silver, Perry Goldstein, and Dan Weymouth. Notable awards and mentions for his music come from Duo Fujin’s Composition Competition; Random Access Music’s Call for Scores; New Music USA; and the Bourges International Competition of Electroacoustic Music. He teaches music theory and composition at Southeastern Louisiana University.