{"id":242,"date":"2011-05-10T20:03:30","date_gmt":"2011-05-10T20:03:30","guid":{"rendered":"http:\/\/digital.music.cornell.edu\/kevinernste\/?p=242"},"modified":"2014-11-21T05:51:35","modified_gmt":"2014-11-21T05:51:35","slug":"roses-dont-need-perfume","status":"publish","type":"post","link":"http:\/\/digital.music.cornell.edu\/kevinernste\/roses-dont-need-perfume\/","title":{"rendered":"Roses Don’t Need Perfume for solo guitar and electronics"},"content":{"rendered":"

Roses Don’t Need Perfume<\/em><\/strong> takes its title from a quotation by Uruguayan writer\/philosopher (…journalist, historian…), Eduardo Galeano. \u00a0In a recent interview<\/a>, Galeano reflected on his own work and how, in a world of spin and manipulated language, one recognize truth.<\/p>\n

In the first case, Roses…<\/em>\u00a0treats\u00a0the notion of truth literally as the guitar is almost never “touched”\/manipulated by the player, it sounds “as it is”. \u00a0Nearly every note is a natural harmonic and the entire electronic part (minus the use of spoken text) is derived from the instrument itself. \u00a0In the opening phrase, the guitarist slowly releases two fretted\/stopped B naturals, allowing the natural harmonics directly beneath them (also B naturals) to sound. \u00a0The whole gesture, therefore, is that of simply lifting the hand to allow the guitar to speak for the remainder of the piece.<\/p>\n