Style
Whitacre writes music that incorporates contemporary sounds. He is probably best known for his choral works; however, both his choral and instrumental styles use pan-diatonic clusters usually arranged in successive increasing or decreasing density. Whitacre achieves this growth and decay by splitting voices divisi—in one case up to 18 parts. These sonorities can often be read as seventh or ninth chords, with or without suspended seconds and fourths. Perhaps his most famous chord is a root-position major triad with an added major second and/or perfect fourth. Whitacre makes frequent use of quartal, quintal and secundal harmonies, and is also known for his use of unconventional chord progressions. His use of rhythm often involves mixed, complex, and/or compound meters. His pieces sometimes include frequent meter changes and unusual rhythmic patterns. Another trademark of Whitacre's pieces is the use of aleatoric and indeterminate sections, as well as unusual score instructions involving, in some cases, hand actions and/or props.
The poets that have inspired Whitacre's work include Octavio Paz, Emily Dickinson, e. e. cummings, Charles Anthony Silvestri, Robert Frost, Rumi and Federico García Lorca.
Critic Robert Hollingworth commented: "what hits you straight between the eyes is the honesty, optimism and sheer belief that passes any pretension. This is music that can actually make you smile."
Read more about this topic: Eric Whitacre
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—Lorraine Bethel, African American lesbian feminist poet. “What Chou Mean We, White Girl?” Lines 49-54 (1979)
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