In the compositional process that, up until that point, had resulted in the compositions R and RAW, I had not yet trained my primary focus on the order of the events in the composition.
When I compose, I regard the things that are going to happen in the composition as events that I can arrange in different ways. Accordingly, I wanted to play with the possibility of shifting what was, earlier on, my starting point into a new – and perhaps even more appropriate – position as the final event of the composition.
I decided that the composition should end with the alto saxophone playing a solo improvisation, and I also came up with the idea that the lines of melodic material should function as a jumping-off point for the alto saxophone’s solo. And in this way, I managed to fix the last two events of the composition – namely, the melodic material played, towards the closing of the piece by the saxophone, and then, following this the saxophone’s solo.
Before these two events were to occur, however, I wanted the pianist, the bassist, the drummer and, optionally, the alto saxophonist to establish a co-created collective improvisation.
In the graphic score of RAWHIDE, I designed mostly separated sharp lines in burgundy and purple colors, to be interpreted by the musicians as they play together.