Meet Terry: Behind the scenes with Eight Eight Time

Journey Arts’ executive director sat down with each of the composers of Eight Eight Time to learn more about the spark for their compositional work. Read on to hear more from Terry Klinefelter, one of the pianist-composers pouring her creative talents into Eight Eight Time!

CRS: When Kendrah Butler-Waters, the project’s originator, told you about Eight Eight Time, what was your first reaction?

TK: I remember when Kendrah first talked to me about it — I’d gone to hear her play at Eddie V’s Seafood. We were chatting afterwards, and she told me she was working on something and that she would be in touch. I was excited and a little nervous about the constraints of the project — how in the world will I write for four pianos? But as we’ve developed Eight Eight Time, the thematic links have started to come together, and in it, the idea that we would write together and in solo format really works. 

CRS: Did you immediately know what you were going to write about?

Terry Klinefelter. Photo: Tshay Williams.

TK: It took some thinking, as I wasn’t sure where to start. Then, I started framing it as something meaningful to me, it started to become clear — neurodivergent individuals, and the people who care for them. It hit close to home because raising a child with autism gave me some ideas about how to approach it. I had not had any experiences with autism before I’d had my son — and I had to become an advocate and an activist. Everyone’s experience of parenting is different — we all love our children, and we do what we have to to get them out in the world. There’s a fine line between not wanting to helicopter but at the same time, give kids the support they need. Navigating that line wasn’t always easy, and I wanted to explore that in my story circle and then my music.

CRS: How does your music reflect your experiences and what you learned in the story circle?

TK: So many different perspectives came up in the story circle. One thing I noticed was many references to repetitive and sometimes restrictive motion — things that are expressed as repeated ideas, motions, or even circular thought processes. In my piece The Circle, I reference this collective experience, but also one of my specific experiences as a parent. We were at the zoo, and everyone was walking around. My son wasn’t interested in the animals — he wanted to wheel his stroller around and around a puddle, and I knew that’s what we would be doing for about 45 minutes. It’s part of a constellation of behaviors that have a name — but this was before I knew what it was. The Circle pulls from a musical device -- one pitch is held while chord progressions swirl around the single note. For my other piece, Grounding, I took more inspiration from my son. The piece uses a musical device called a ground bass (or a bass line), which is a repeating line that keeps the whole piece grounded. In part, I took inspiration from watching my son become a terrific, professional bass player. It also reflects the intense interests that children on the spectrum often express — and how that intense interest can blossom into professional success. 

CRS: How did you think about translating these ideas into music for four pianos?

TK: The inherent problem with four pianos is that sonically, they’re exactly the same. The instrument is quite powerful, almost self-sufficient, and can feel like a full orchestra, just on its own. In writing these works for Eight Eight Time, it’s been helpful to draw on my own experience playing with orchestras, feeling aware of how many voices can blend, and how composers have managed writing the challenge for large forces. I’m also drawing on my experience as a piano teacher — especially having taught piano duets.

CRS: What are you excited for audiences to hear?

TK: It’s so unique — you’re not going to hear anything else like this. There are jazz concerts and classical concerts, but seeing four pianists with divergent backgrounds, coming together to perform this work — and bringing in poetry and visuals, it’s an immersive artistic experience. I think the work will speak for itself — come out and hear it! It’s going to be a powerful experience for the listener.

Find your tickets here and join us for Eight Eight Time on April 3, 4, and 5!