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Finished Piece (v.1...)

The concert is on May 4th, so at some point I had to finalise the piece, though I could keep tinkering forever. Here's the full score as of 12/4/18, there will still be some minor changes I imagine; some things need tidying up, and at the moment it's missing performance instructions (most of which are in the score, but an instruction sheet will be added. Here's the structure of the piece:

Full ensemble contrasts material presented in two forms; static chords (reeds/brass/perc/cello), and falling “scales” (flutes/pno/gtr).
technique: Magic square, randomness.
Links: Opening Section + Magic Squares
Saxophone & Percussion duet
Improvised duet of sax multiphonics and bowed-cymbal harmonics. Ensemble plays Feldman-like gentle background of overlapping melodies and soft noise.
technique: Magic square.
Guitar & Piano duet
Guitar and piano play almost together, pushing/pulling each other, the ensemble play sparse additions to support or undermine the duet.
Technique: magic square [failed], random markov-chain, ghost-cubes.
116–164 (end)
Cello solo + All solo
“Prepared” cello solo with ensemble playing on the border of noise.
Technique: Ghost cubes [failed], isorhythm, magic square.
Links: cello "preparation" and generating solo

The title is Variations and repetitions transform each other, which is a fairly literal description of the piece. The piece all springs from one piece of material (the chord E, G#, D, F#, A# [and G♮]) and proceeds to repeat this through pitch transformations (based largely on magic-square technique) and timbre transformations using so-called extended techniques of the instruments: see John Butcher's discussion of the issues with the term "extended-techniques" here.

The piece is structured around solos and duets, in which the solo part was written first and then the ensemble part generated around this. See the links in the table above for blog posts that deal with specifics [more blog posts will follow to cover areas not yet discussed ... email me if there's any specific point you'd like expanded]. The sax/perc duet and cello solo are much more like my usual composition style, since they tend to begin with some unstable technique that I can map onto the pitch-material above. The guitar/piano duet is different since it's based more around specifically pitch variation, but there is some timbre manipulation in the ensemble part especially. Since the focus of the project was on using the techniques taught in level-1 composition classes, I wanted to ensure these generative techniques were the focus, but I twisted the brief back towards my own compositional interests by making allowing the generative systems to intertwine with the timbre techniques:
  • for example the cello solo is entirely generated from isorhythmic techniques, but the isorhythm parameters are based in manipulation of the prepared-cello timbre; 
  • similarly, the material for the saxophone and cymbals duet is chosen by using the pitch material (the chord E, G#, D, F#, A# [and G♮]) as the focus point for multiphonics on both instruments, but knowing that the unstable instrumental techniques will de-focus this.

Key Commentary Points:

  • It's useful to begin the commentary with an overview of the piece and the important (for you) compositional ideas. Note that the specific techniques are not foregrounded here because what's important is what the musical idea is, then the techniques are selected and fine-tuned to best realise that idea. It's enough to say what technique was used, why it was used (i.e. what it's doing and why this technique is most suitable), and provide a brief example from your piece that shows detail of how you've developed or altered it to suit your needs (relative to the models shown in class). If you need to outline the technique in detail (i.e. show the magic square or routes through it) then use an appendix to show this. 
  • For my piece, the important points are: 
    • a single piece of material forms the basis of everything (later I'll specify some varied examples of how I've done this differently, and how they were influenced by other pieces).
    • the piece is structured around solos which intertwine the abstract pitch material with indeterminate timbre techniques specific to the instruments.


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cello solo v2 - orchestration

Re-working the generated part: Before I get to orchestrating the cello solo, I decided I need to re-work the generated line. The previous line (ex.1 below) wasn't too practical, and didn't give the cellist enough leeway to work with the prepared-string to bring out the desired sounds: the whole point here is that the preparations allow for different harmonics and multiphonics to emerge, and that the tablature-style notation constrains the player's actions to limit what specific sounds emerge.

In the notation (as explained in earlier post) there's a 6-line stave to indicate not pitches but bow positions, between the preparation (bottom) and bridge (top); essentially sul-tasto to sul-pont. The part mostly only uses the right hand for playing, with the left hand occasionally used for timbre variation through interference (see b.143–145).

To generate the part, I allowed the isorhythm (ex.2) to run for nine iterations of the pitch line ('color' seems somewhat meani…

piano & guitar 3 - orchestration

[general apologies for the images in this post, which don't always link easily to the text. My parameter names kept changing over the few days spent composing this, which looks confusing now because the parameter names (descriptors) aren't always the same.]
Having generated the phrases for the guitar and piano, I need to decide how this 5-mins of duet will relate to the rest of the ensemble. I decided to use the Xenakis rotating-cubes technique to generate a phrase-by phrase orchestration behaviour. Crucially, this only defines the type and size of orchestration, not the specifics: I could have generated very specific limitations on instruments etc but wanted to keep this free to save time really, and allow a more intuitive shaping of that aspect. I also wanted to avoid this being too 'blocky' and only mirroring the phrasing of the duet, so I allowed for some orchestrations to reach forward or backwards into neighbouring phrases. My first thoughts on this is that I ne…