Fallen Grasses: Composer's Notes
                                                            
                                                                by Susan Precourt Reddin

             In the early summer of 2006, I was asked by Kathleen Pettit, direction of an annual fall production
        of the Bloomington Art Center consisting of a "fusion of poetry, music and dance," to set to music
        a group of tanka poems by local poet, Jeanne Emrich.
              Jeanne explained to me that tanka was originally sung or chanted. She said I could put the four          
        short poems in any order I wanted and could repeat phrases or words. I decided to begin with the
        more pensive poems and end with the most positive one.
              During summer a lot of time is spent on our live-aboard sailboat on Lake Superior. In the very
        silent nights on the lake, I would put the words next to me as I was getting ready for bed. I know I
        wanted something more melodic than a chant, but an ostinato kept popping into my head--a kind of 
        mantra using the title of the song. Then a rather mysterious melody in minor mode came for the
        first verse which also fit the third verse and the middle line needed to be repeated for balance. This
        was an interesting experiment for me as I had typically used verse with rhyme and a regular meter
        (usually my own poetry), or settings of Psalms, which are free verse and non-rhyming. In the second
         melody, I wanted to have the pitches portray what the words were saying, "looking up, I let snow
         fall into my eyes," thus creating a "tone poem." This melody also worked with the fourth verse.
              When I came home and played everything, I discovered the ostinato, which I was intending to
         use only as a refrain, fit miraculously under the first melody and formed the harmonics for the first
         and third verses. The rest of the harmonies are derived in part using a technique called "planeing," a
         favorite device of Claude Debussy in his impressionistic music (chords of thirds and sixths moving
         in parallel). I do interject some parallel fourth in the harmonies of the later verses for Oriental flavor.
         The last verse borrows harmonies from the Major key, giving it a more hopeful, positive ending.
               The best part of this experience for me was having this song go from a small ensemble piece at
         its premier to a full chorus as sung in this concert. I hope you enjoy it a much as I have!

                                                   About Susan Precourt Reddin, Composer

               Susan Precourt Reddin began composing songs for the church choirs she was directing in the
         1970s. After 20 years of directing music ministries in churches, Susan returned to school to finish
         a Masters Degree in Vocal Performance. She also took many theory and composition courses while
         at the University of Minnesota. Susan has composed a number of choral works on commission for
         church choirs and has won several composition contests.
              Susan has been an active performer for many years, taught music in public schools, and directed
         church choirs in parts of the U.S., all while raising four children. She has continued as soloist and
         cantor, including 10 years at the St. Paul Seminary. She has been a soloist with the chamber chorale
         of the Minnesota Chorale and Paul Kaye Singers, as well as the University of Minnesota Opera
         Workshop, North Star Opera, Thursday Musical, New Fogey Follies, the Refreshment Committee
         Christian Theater, St. Choix Festival Theater and Singstation Broadway Review. Susan has produced
         and music-directed many revues, included five years with Theater 65, a professional senior theater,
         before retiring in 2001. Her songs are featured on a CD, "The Right Direction." Susan has also
         been commissioned to write songs for five national SPAN rallies in Washington, D.C. (1997-2000)
         for which she also served as Music Director.  She was recently inducted into the Minnesota Chapter
         of the National League of American Pen Women.

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