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SKU: A0.1029138
Composed by Mathew Skurat. Contemporary,New Age. Score. 12 pages. Mathew Skurat #4718753. Published by Mathew Skurat (A0.1029138).Direction
bouncier, sandwiching two and three which are gentler and more reserved.
The movements of this suite follow a key structure that is alternating minor
and major keys. The first movement is in A minor, while the second is in A♭
major, followed by the third in D minor, and the fourth in D♭ major.
When it comes to time, the first and second movements are in common time,
and the third and fourth shake things up a bit. The third is still typical and is
a waltz in 3/4 time, while the last movement is in 5/4, with a 6/4 bar and a
2/4 bar to close the piece.
Unless you exist
In your own mental prison.
The right to be right
Often misunderstood
Real, true, and pure
The highest we can, should, or could."
-Mathew Skurat, 7/1/19
Webster Dictionary states in it’s first definition. I feel there is no
coincidence that it is the first definition.
Many people on first glance may not notice, but the beginning of the
piece has a structural shape of arrows in the melody, from the very
first bar in the right hand, and continuing through. These arrows
point to the right, keeping the movement of the piece always rolling
forward.
In the second half of the piece, the left hand must cross over with the
thumb and reverse the direction of the arpeggios a few times, these
crossover points being both physical and metaphysical. When one
keeps moving forward, or "To the Right", they find many crossover
points of vulnerability. It’s like opening a door embodied on your
person to step through yourself and through to yourself.
It was like tasting
the universe, and
the stars were pop rocks."
-Mathew Skurat, 6/24/19
me, and I reminisce often, as I know I can achieve it again …
eventually.
The above quote describes the experience, and this second movement
is based completely on it. The melody is written based on the words,
with the first two lines repeating once to make the first section of the
melody. The second section of the quote is the second section of the
melody. Listen, be open, and you’ll not only hear it, but you’ll feel it
first.
The line of the quote is a set of literal directions that are not included
in the score but are implied. One must ease into the first part of the
melody by slowing up and softly milking every note. The dissonant
suspensions on the word nice like the one in the third measure
should be stopped on briefly and milked as well. The little sixteenth
note variations of this line, the second time this melody is played,
should be playful and innocent.
The performer should really feel what these moments are like, stops in
time, perfectly mutual, outrageous, chaotic, but calm, serene, and the
definition of "right" from the first movement.
Stop time, travel, and experience something that will redefine you.
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