Quintet

I'm really glad I got to hear the instruments live today. While I was partly focused on playing my own part correctly, I got enough of an idea of how it's flowing. I really think the instruments work well together; there was a really rich sound. I can't wait to hear the voice on top of it. I liked how the imitation came out, and we'll be able to see more of it with the voice, too.

I need to fix the score order and label them properly. I'm still learning how to get my way around the software, so my primary concern was getting notes on paper, but it's something to keep in mind (and labelling will be important for next time so people know which voice they're following).

There's room to play around with voicing now. I need to decide soon if I will expand on this section or create other "movements" to flow into and out of it. Part of me wants to keep the piano part identical in the second half--this gives a kind of centre that the other instruments can gravitate around. On the other hand, it's worth trying out different spacings for more colour. Same goes for the other instruments.

Quatrain

The middle section is done. For now. Edits are inevitable at this point; I know I can do something more with it, but I'm going to have to hear it live first to get a real sense for it. Unfortunately we won't have a vocalist this week, but I can still get a general idea. Midi files will never do a piece justice.

The Rondo form has definitely gone out the window. I'm now fairly set on a through-composed piece, with three contrasting sections. I have the text written and set to music for the middle section (which will be presented tomorrow sans voice), most (if not all) of the text for the opening section written, and a general idea for the third part.

I've always been uncomfortable showing incomplete sections of my work, especially when they will be as out of context as this will be tomorrow. I'm not sure how the text will be received either. Still, I need to hear what this all actually sounds like--it will give me an idea if the other thoughts I have are feasible and whether they fit in or not.

I'm still mulling over ideas for "aleatoric elements" and extended techniques. I have plans for an ad lib section in the final part. I want to be actively thinking of places to use--shall we say--"new" techniques, without going overboard, or even just for the sake of using them. If I can use them, that's great, but if they don't really work, if they don't really make sense, then I don't want them. I like to keep things streamlined.

Trio

It's amazing how a piece can take on a life of its own and evolve. I went to see Dr. Ross the other day and we fixed up a few chords in my piece and discussed a possible new direction for it. He spoke truly when he said that sometimes you can't control what a piece is going to do once you've given it life.

I was so sure of my Rondo format, but it's moving farther and farther away from that idea. Already the "B section" has been extended, and I don't think I even want to repeat the A section (whatever it's going to sound like). Especially now that I've started work on the text, the piece is pulling me in a new direction with new ideas. I'm very happy to go that way, but it's strange how these things can happen. I think it might end up being through-composed--"A" might end up coming back at the end in a varied format (or through one of its themes), which might give me incentive to work hard on some good melodies.

The fast approaching deadline will also give me incentive to work hard. At first I thought I wouldn't like being under pressure to compose--but being under pressure forces me to actually bring ideas out, rather than just thinking about them and saying "ah, I'll write that down later" or "that's no good, I'll think of something else."

Secondo

Time to get down to business.

I have a general idea of what direction my piece will move in, including some very specific points I'm eager to incorporate. As I said today in class, my piece will be in Rondo form: (intro)ABACA(outro). The A sections will all be based around the scale I came up with: C-Db-D-F#-G-Ab-Bb, with the whole idea that the "tonic" chord has no mediant. The B and C parts will be drastically different and based on other modes/scales. The instrumentation is: Bb Clarinet, Viola, Voice (Alto), Piano, and Double Bass.

The basic idea for the B section has been sketched out, and I imagine it will remain mostly as it was heard today (in the piano part anyway). Dr. Ross mentioned that a few parts seemed unusually tonal (as funny as that term sounds). It's true. There is always the option to leave those chords as is on the piano, and add other notes to it on another instrument, but there are a couple of sections that I think could use some tweaking. Planning on incorporating some sort of eb Phrygian melody over top, between the clarinet and alto. Mmm....counterpoint.

I'm pretty happy with how the progression turned out on the whole. Just to reiterate what I said in class: I began by writing a fairly standard progression in eb minor (with some not-so-standard progressions/chords included). I then reversed the progression and added notes here and there to "disguise" the original chords. Example: if the progression had gone i-iv-ii6/5-V-i, I would have rewritten it as i-V-ii6/5-iv-i, and "reworked" the chords. I got this idea from another song I wrote. After I wrote the chorus, I realised that it made perfect harmonic sense if you started at the end and worked backwards; I figured I could consciously apply this concept this time around.

Also noted: my work includes two stringed instruments. Therefore I shall probably write out their parts in d# minor. Not a big deal, but something to remember before the last second!

I considered borrowing text for the song, but had an idea already for words. Mental note to keep in mind that two players need to take breaths throughout the piece. I usually just take a deep breath at the beginning and plunge into it!

How very exciting!

Post the First

This is at once exciting and terrifying. I'm really excited to be in a composition course--something I've been looking forward to since I thought of applying to music school almost three years ago. Now I have an outlet into which I can channel all my pent up teenage angst (I never fully got it out years ago), and not only that, but my works will be performed, which is a weird feeling itself.

I'm a little anxious because I've never been asked to compose with specific guidelines in mind--heck no one's ever actually asked me to compose period. While I'm not totally dead set in classic tonality, I'm definitely heading out into uncharted territory--and without any chord progressions to cling to! Still, I am looking forward to it.

I like the idea of creating your own scale as a starting point for composing. It certainly allows for a whole new range of chords, melodies, feelings and combinations. I know I struggle with writing melodies, and often rely on harmonic progressions to lead me through a composition, so these projects will give me a chance to explore a new area, come what may.