Recorded at Rosabel Choi’s home in Phoenix, January 2012.
A comment about Rosabel’s relationship to the score.
Rosabel Choi: Look through the score, and figure out what the intention was, what the result should be like, and go from there, so it’s very much in the middle of the process. It’s something I study a great deal in order to be able to throw it away.
“Fitting into the groove” are two separate melodies: “awkward nightbird” in the right hand, which repeats as it descends the keyboard and “heavy melancholies” in the left hand, which stays in the same mid-range octave. We never hear the whole melody, different notes of it are omitted at every repetition. The player is invited to make their own version of this process, if they feel comfortable enough to do so improvisationally, or they can use the notated version. This responds to Rosabel’s notion of the score as something in the middle, which invites completion by the performer.