Seascape Suite 1898466475 upc 796279101516
Parts of this suite were first composed over twenty years ago, when Chaz Hart lived by the Dorset coast - where he used to spend many hours watching the ever changing moods of the sea. The contrasting wild power and gentle nature of the sea never ceased to amaze him - turning unpredictably from untamed ferocity to seemingly placid serenity.
The opening theme represents the relentless surge of the sea lapping on the sand. The arpeggio lines in Sea Prelude portray seagulls circling over rocks in the bay. The arpeggios should be played as smoothly as possible - to emulate the gliding qualities of the birds effortlessly floating on thermals of air.
The middle movement, The Storm was written some years later when I spent a few weeks in Seaford. In this small Sussex coastal town, the sea has eroded so much of the beach that massive rocks from Spain have been imported to try and save what is left. On certain days the town is swamped with rogue waves crashing in and pounding against the sea defenses. The movement of chords with their rasqueado effect is an attempt to portray the power of the waves; so if some of these chords are a little harsh, and some louder than others, this all adds to the effect.
The final movement, The Clam, was written earlier this year after a visit to Pevensey Bay. It uses 7/4 time in a deliberate attempt to evoke that calming movement of the sea; where a wave is drawing back into the sand whilst the next wave is gently sliding over the top of it. Hence the uneven 7/4 feel, which gives an enigmatic never ending quality to the rhythm. This movement should be played as legato as possible, to reflect the soft sweeping movement of the pebbles being drawn back across the sand as each wave withdraws.
Learn More About RGT.
The opening theme represents the relentless surge of the sea lapping on the sand. The arpeggio lines in Sea Prelude portray seagulls circling over rocks in the bay. The arpeggios should be played as smoothly as possible - to emulate the gliding qualities of the birds effortlessly floating on thermals of air.
The middle movement, The Storm was written some years later when I spent a few weeks in Seaford. In this small Sussex coastal town, the sea has eroded so much of the beach that massive rocks from Spain have been imported to try and save what is left. On certain days the town is swamped with rogue waves crashing in and pounding against the sea defenses. The movement of chords with their rasqueado effect is an attempt to portray the power of the waves; so if some of these chords are a little harsh, and some louder than others, this all adds to the effect.
The final movement, The Clam, was written earlier this year after a visit to Pevensey Bay. It uses 7/4 time in a deliberate attempt to evoke that calming movement of the sea; where a wave is drawing back into the sand whilst the next wave is gently sliding over the top of it. Hence the uneven 7/4 feel, which gives an enigmatic never ending quality to the rhythm. This movement should be played as legato as possible, to reflect the soft sweeping movement of the pebbles being drawn back across the sand as each wave withdraws.
Learn More About RGT.
