The Pattern for pierrot ensemble

Commissioned by Ensemble Pi

INSTRUMENTATION

flute, clarinet/bass clarinet, violin, cello, percussion (snare drum, vibraphone, 3 tom-toms), piano

PROGRAM NOTE

The Pattern serves as a case for reparations for the African-American community and embodies the historically tumultuous relationship between White and Black Americans. Moments throughout American history demonstrate the many ways in which white supremacy has, very intentionally, created roadblocks against progress for African-Americans. Of course, this began with slavery. After the Civil War and during Reconstruction, Black Americans began to participate in government and build their own communities. This was met by riots led by white mobs, and policy was enacted to overthrow the participation of Blacks in politics. Later during Jim Crow, Blacks were segregated from whites, receiving poorer quality services and resources, and were disenfranchised as voting citizens. Among many oppressive acts and violence leading up to the Civil Rights Movement, Black Americans experienced redlining, making it next to impossible to legitimately purchase a home and build wealth.

Those are just a few incidences indicative of a pattern that’s as American as apple pie.

The beginning of The Pattern is inspired by the final battles of the Civil War. Once the war ends, Black Americans are declared free from slavery, but left with no guidance or resources. Though during Reconstruction many Blacks were able to acquire land and build their own communities, there was lingering disdain from defeated confederates, which was followed by terroristic behaviors towards Blacks. The music moves into a section that represents the hope and optimism felt by Black Americans, but also the looming and inevitable attack from white supremacy. There is a moment where true freedom seems possible, established by a groove in the vibraphone and piano accompanied by liberated winds, but there is still a sense that history will repeat itself. In the final section, it is made clear that this is a cycle proven to be exhausting, painful, deadly, and psychologically harmful.

Because of this toxic pattern, Black Americans have struggled to experience the same privileges as their white counterparts. Acknowledging this pattern and putting an end to this abuse is a much needed and overdue form of reparations.

— Allison Loggins-Hull

PERFORMANCE NOTE

Note clusters in the piano part are notated as indicated. Play top and bottom notes and everything in between.

In the strings, stops indicated with a squiggly up arrow should be arpeggiated up and vice versa.

Microtonal fingerings for the flute are in the individual part.

The bass clarinet lip glissando is produced by dropping the jaw to relieve pressure, while keeping lips on the mouth-piece. Then, once the note splits move the tongue backwards in the mouth (as if making the sound from aah to eee). Continue to move tongue back and forth following the contour illustrated in the score.