Scalar Fields contains a set of 20 compositions, which were composed jointly by us both.

The compositional approach on Scalar Fields is quite different from that of Bichromial.  On that album, we employed an open form compositional technique.  The open form is through-composed, with no repeating sections, motifs, or lines; the composition is continually evolving along a linear thread.  On Scalar Fields, we did not use any of the Open Form series or techniques; themes and motifs appear and may later re-appear in a highly altered, further developed; yet recognizable form.  Or not.  We agreed that some form of written, verbal introduction to Scalar Fields was important. Though we weren't sure that we wanted to pre-condition the listener with our words and descriptions, we did decide to include liner notes, unlike Bichromial.   After all, our words about this difficult-to-describe music were only that: our words. No doubt each listener will find their own meanings, images, and emotions in our music.   During the collaborative process of writing the liner notes, we decided to explain the metaconcept of how the pieces were conceived, and the two principles on which they were based.  Therefore, we described the two types of compositions on the album, but did not describe the background, meaning, or content of each singular composition.  We leave that to you, the listener.

Liner notes for Scalar Fields:

"The twenty compositions on this album could well be placed into twenty different categories. However, we composed the pieces around one of two concepts: a macrocosmic compositional form, and a microcosmic compositional form. The macro- pieces illustrate broad structural landscapes, stark directional shifts into distantly related shapes, and may progress through multiple interlacing systems. The micro- pieces are narrower in scope; sketched, not painted; yet are whole compositional molecules. The balance achieved within our two voices in this music is represented in the titles by the Latin word for balance: librae.

For us, the most compelling aspect of any abstract art form is that it may be a tabula rasa, and thus a unique meaning may be imbued to it by each viewer, listener, or reader. It is our hope with these pieces that each listener might then become our collaborator, performing their unique translation from the abstract to the concrete and personal.

The performances of the compositions on Scalar Fields were recorded exactly as they are heard on the album. We selected these performances based upon artistic and compositional form and content. While there may be imperfections in the recorded performances, the strength of content outweighed concerns over technical flaws."

-KastningSiegfried; Autumn 2005


Special thanks:

Kevin Kastning would like to extend special thanks to: Siegfried, Therese Kastning, Zuta, Paul Zumwalt, Carl Clements, everyone at Greydisc Records, Mary Faith and everyone at John Pearse Strings, and Richard Hoover and Daniel Roberts of the Santa Cruz Guitar Company.

Siegfried would like to thank the following people for their inspiration, support, and example: Kevin Kastning, Christina Bechstein, Charlotte Adams, Pauline Oliveros, and Carl Clements.


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