Geryoneïs Outline

I. Geryon (tutti)
Forceful introduction of what I think of as Geryon's theme. Influenced by my perception of the color red--angry. This theme is cut short and replaced by a static kind of texture that will come back a few times. It represents stability.

II., III., IV., and V. overlapping
II. Meanwhile He Came (bassoon)
The beginning of the red thematic idea. Long notes broken up by jagged rhythms.

III. Geryon’s Parents (clarinet and saxophone)
A static duet representing what I think of as the parent gesture. Unchanging and stubborn.

IV. Geryon’s Death Begins (bass clarinet) I need some recommendations for multi phonics.
The second step in the evolution of red.

V. Geryon’s Reversible Destiny (English Horn)
The parent gesture inverted.

VI. Meanwhile in Heaven (tutti)
Heaven is open fifths. G's and D's fading in and out... glistening?

VII. Geryon’s Weekend (tutti)
Another take on the stability texture from the first module. Everything's fine.

VIII., IX., and X. overlapping
VIII. Geryon’s Father (bass clarinet and bassoon)
Single parent, but two instruments. One is used as a drone or to simulate reverb, then their roles change. The opening motive is a quote from "Everything in Its Right Place" by Radiohead.

IX. Geryon’s War Record (saxophone)
The third step in the evolution of red. Becoming angrier, desperate, more dangerous.

X. Schooling (clarinet)
This one actually enters briefly before IX. A kind of false entrance. It's the parent texture again--stubbornness still prevailing over all the red flags.

XI. Right (oboe and clarinet)
I think of this as an interlude. "Everything in Its Right Place" is quotes pretty extensively, though in fragments. I wasn't thinking of the name of this module when I decided to quote, but rather was thinking about how all these modules need to fit together--each one in its right place. There's also Morse code in this module--text from the poem. The clarinet asks, "Are there many little boys who think they are a monster?" The oboe replies, "But in my case I am right."

XII., XIII., and XIV. overlap. They are nearly identical--all red--but played at points of imitation, creating a building wall of noise. 
XII. Wings (saxophone)
XIII. Herakles’ Killing Club (bassoon)
XIV. Herakles’ Arrow (bass clarinet)

XV. Total Things Known About Geryon (tutti)
The order of entrances is prescribed. Each instrument plays a short asynchronous loop, independent with regard to tempo, fading in and out, moving to the next module, etc.

XVI. Geryon’s End (tutti)
A reprise of VI., but different voicing--Geryon in heaven. Nothing is coordinated. The piece is over when everyone has stopped.

©2017 Joshua Harris