Composer Zack Patten

Compositions

Oeuvre Brisures [2005]
Duration: 4:40
(Orchestra)
Compose in January 2005, Oeuvre Brisures is a short piece for orchestra. The inspiration came from what essentially started out as an orchestration study to be recorded by the Russian National Orchestra. Translated "Completed Fragments", Oeuvre Brisures contains four simple orchestral elements that were to be explored. The piece starts mysteriously with divided low strings and a non rythmic pulse. It then grows to a cadence which fully realizes the main theme. The theme is then imitatively passed throughout the orchestra leading to an energetically explosive middle section which reveals a secondary theme. To balance the intensity of the middle section, a section emoting a "transparent" string sonority was composed. This realized the main thematic material once again and cadenced on a large resonant chord in stacks of perfect fifths. A quasi-recapitulation finishes the piece imitating an organ-like build and a final restatement of the main theme.
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Kierkegaard [2004]
Duration: 4:30
(pno. trio + ten.)
Kierkegaard is the result of an extended period of self searching and an ongoing battle with spirituality. The text for the Goliard Ensemble instrumentation is a compilation of verses from a variety of prayers by philosopher, Soren Kierkegaard. The overall mission of the piece was to show reverence in the continual struggle to find God. So many times Christians are critized for their sense of humbleness and humility. These qualities, however, are in fact the beauty of Christianity. As the text for Kierkegaard states a position of humbleness and downcast eyes, a new and enlightening harmonic sonority is achieved to extend this belief to the listener. A muted piano is used at the beginning and towards the end to personify the low points within everyone's spiritual journey. The piece ends with a plea of the courage to hope once more which is accompanied by a simple two note cadence in the violin and cello.
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Shadow [2004]
Duration: 3:00
(gtr. + sop.)
Shadow, for soprano with guitar accompaniment and percussion is a jazz arrangement of the so named poem by author Billy Collins. The composition was written for my good friends Laura Smith (soprano) and Adam Stanley (percussion). The text seemed to flow nicely with a swinging and relaxed jazz feel. Upon discovering that Mr. Collins is in fact a jazz admirer, I felt assured that the interpretation was not too far fetched. I had the great opportunity of meeting with Mr. Collins at Georgia Tech only days after the composition was finished. We had a fantastic discussion and I told him what a huge fan I am of his work. I gave him a recording of the piece, in hopes that he would enjoy, and thanked him for his time and talent.

Fuga no.1 [2004]
Duration: 2:30
(pno.)
Fuga No. 1 is an experiment with imitative technique for solo piano. It takes the simple melodic scale intervals of 5,6,7, and 1 as its main theme. This pattern is then passed through different registers of the piano while an accompaniment figure is continued in other voices. The opening and ending of the piece are modeled after the genius fugal composer J.S. Bach. The middle section takes on a very different personality from the other sections. It transforms into a sort of curiously melancholy atmosphere, reminiscent of traditional russian music. After cadencing, the fast main theme returns this time transposed up a major third giving the ending its punch and a brighter sonority.

Cantabile [2004]
Duration: 4:00
(pno. + gtr. + perc.)
Cantabile, for guitar, piano, and percussion was written for my good friends Chris Owenby (piano) and Clint Hawkins (percussion). The challenge in this piece was to combine the opposing sonorities of the piano and the classical guitar. I did not want to mic the guitar for tone sake, therefore, I chose to orchestrate the piano more like a lyrical instrument as opposed to a loud percussive instrument. I chose to write, similar to the Fuga No. 1, an energetic beginning and ending with a slower, more melodic middle section. Also included before the middle, lyrical, section is a percussion solo whereby all players are performing percussive rhythms on their instruments. This gives a drum line feeling and allows for a nice transition into the slower section. The exploration of major ninth and eleven chords used in contrast between the two sections allows for a theoretical connection of harmonies with a difference of voicing and mood.

Another Grace for a Child [2004]
Duration: 3:30
(pno. + sop.)
Another Grace for A Child takes its text from poet Robert Herrick. The poem comes from the Oxford Book of Christian Verse and is a short, simply stated child's blessing. I immediately was drawn to its pure and civil qualities. It was written for my good friends Virginia Caldwell McClarry (soprano) and Ashley Hawkins (piano). The composition begins with a very comforting and open sounding major ninth chord arpeggiation. As the soprano continues with the simple melodic figures, the piano starts to build in intensity. A modulation to the relative minor adds to the feeling of driving motion. Towards the end, an accelerando aids in the push to a sustained high B in the soprano and a fortissimo cluster in the piano. The transparent open sounding ninth chord returns and marks a prayer ending with reassurance and comfort.

The Woman Who Disapproved of Music at the Bar [2004]
Duration: 3:30
(gtr. + bsn. + ten.)
The Woman Who Disapproved of Music at the Bar was written for the Goliard Ensemble and won second place in the annual Goliard composition competition. The instrumentation of Tenor (Jim Blanton), Bassoon (Gili Shaham), and guitar seemed to have the sonority of a male voice trio. I used this as a guideline for my orchestrations of register and tone combinations. This quirky poem from Langston Hughes tells the story of a discombobulated woman that apparently fears that chinese musicians are coming after her. I chose to accent this mood with cartoon like rhythms and offbeat accents. The guitar uses an ostinato of the lowest string to relatively high harmonics to give an extreme low to high range that seems to mimic the woman's erratic personality. The bassoon acts as an underlying syncopating bass singer, occasionally jumping in and out of time. The narration of the tenor voice tells the story from an almost sportscaster approach. At last, the woman is no where to be found, and an army of chinese musicians actually seems quite possible as the culprit.

Short Film

Freedom Is A Light [2005]
Duration: 4:40
Digital Short Film (Oeuve Brisures - Russian National Orchestra)
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Freedom Is A Light represents many miles traveled and many applied lessons in the global struggle for balanced civility. The music for this dvd comes from the orchestral recording of Oeuvre Brisures (Russian National Orchestra - Mosfilm Studios, Moscow). The video footage comes from both the Russian recording session (filmed by Donald Tipton) and my own trip to the northeastern United States. So often because of daily routines, deadlines, televisions with too many channels, and countless other mind-numbing distractors, we lose our sense of duty as free citizens. As Howard Zinn says, "You can't be neutral on a moving train." If we do not make time in our hectic schedules to contemplate our surroundings and to seek experiences from other points of view, we will unknowingly become neutral. Walking next to Independence Hall, viewing the Statue of Liberty from the top of the Empire State Building, and making music with a culture that is just now starting to gain independence are all very humbling educational experiences. Freedom Is A Light is my reminder to myself to continue my search and to not become neutral.

Comperio Veritas [2005]
Duration: 6:00
Digital Short Film (electronic samples)
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Comperio Veritas is the story of young love and ultimately the journey to find your one true love. The girl character (Mary Hannah Riggins) and the boy character (Josh Ruffin) find themselves surrounded by all of the beautiful things that are nature. They separately share similar experiences by which they can both find their souls and learn to love unendingly. The silver-like streaks which are found throughout the journey, represent this manifested passion to truthfully adore another. The images, created and hand painted by Danielle Hanson, suggest that the elements of nature have a beauty unto themselves but as humans, our one true beauty lies in the genuine love and care for people. The kind of rare love that morning doves share and the complete giving of our every essence can only be found when we find our other half which fulfills our existence. Comperio Veritas took first prize for digital video at the Electronic Music Festival in South Carolina (2005) and also received "best in show" at the same festival.

The Recurring Dream [2004]
Duration: 3:00
Digital Short Film (electronic samples)
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The Recurring Dream is partly taken from an actual dream I've had for many years. The music was created with the idea of an abstract solitary figure that slowly reveals itself. I wanted the lighting to have a sort of institutional and uncomfortable feel. I chose to use 35mm. black and white film to give a soft edge and a mysterious quality to the images. The beautiful Danielle Hanson served as both model for the shoot and also as the developer. The images of her were shot at West Point Lake, Georgia during the dusk hours to give a nice gleam to the surface of the water. Very metallic sounding samples were used to enhance the abstract mood and a manipulated sample of children at a playground was needed for added drama. At the Electronic Music Festival in South Carolina (2005), The Recurring Dream was voted in the top three for digital video.