"I mean you no harm" for mixed chamber ensemble - (2021)

I mean you no harm (2020-2021) for mixed chamber ensemble
Premiered on Wednesday, December 15, 2021 at the First Presbyterian Church of Ypsilanti, MI.
Emily Ji, clarinet
Jeremy Howell, alto saxophone / Tibetan Singing Bowls
Reed Puleo, percussion
Celia van den Bogert, harp
Karalyn Schubring, piano
Alex Anest, guitar
Kaitlyn Walker, viola
Helen LaGrand, cello
Stephen Castiglione, double bass
Alexia Benson, soprano
Pelagia Pamel, alto
Nicholas Music, tenor
Grey Grant, bass
Audio/Video Recording by Solid Sound Recording Company
Ann Arbor, MI.
Lisa Tar and Eric Wojahn, engineers
"I mean you no harm" is a work for mixed chamber ensemble (cl, asax, perc, hp, pno, gtr, vla, vlc, db, SATB choir) composed with the intent of alleviating stress and down-regulating the sympathetic nervous system based on studies and research at the intersection of music, neurology, and meditation and healing. In this work, I focus on utilizing and applying proven techniques for healing such as binaural beating and auditory entrainment while amplifying the healing power of extra-musical experiences such as those available to us in the natural world and in mystical and spiritual practices such as Kabbalah and meditation. I attempt to accomplish this by means of the use of timbre, pulse, atmosphere, and the manipulation of the overtone series to create a meditative and healing sonic space.
Some of the Jewish teachings I have embraced since my childhood, such as caring for and loving the earth and performing acts of loving-kindness, are exemplified in the teachings and actions of Kabbalah and those who practice it. One of the fundamental questions of Kabbalah is how can we each properly attune ourselves to the earth, to Havayah (the Great Existence), to the S’firot (emanations of Havayah between the physical and metaphysical realms), and to each other. While the answers lay deeply within each of us and scattered throughout the universe, I aspire that this work might help us each attune to each other, to the depths of the universe, and to our own selves.
While the “standard” unit of time measurement in a piece of classical music is beats per minute within a given time signature, the unit of time measurement in this work is in seconds as dictated by synchronous stopwatches for each performer in the ensemble. The work is to be performed sans conductor; each sonic event will act as a cue for the subsequent sound in the score. The performers are to be distanced and spatialized in individual groupings within the physical space for performance by instrument family. This lends the opportunity to re-figure the role of “concert-goer” as that of “meditator/participant” with agency over individual experience. Each individual has the freedom to discover which individual performer or group of timbres generated by the ensemble resonate best within them, and to move freely throughout the space. It is my utmost hope that in these current treacherous times of uncertainty or any perilous moments we may endure in the future, that this work be a catharsis and a release for anyone who participates, meditates, or listens.

[@stephenweigel]

the microtonality in this piece is so beautiful! is all of the tuning in just intonation?

[@arisussman1463]

Thank you! It's binaural beating! The musicians on stage left are tuned to A4=432 Hz (and all proportional pitches) while the musicians on stage right are tuned to A4=440 Hz (and all proportional pitches). The difference of 8 Hz has been shown to promote slower heart rates and more relaxed states.