Heavenly Harps and the Root of All Evil

Today, go to YouTube and listen to some Harp music. It's just such a beautiful instrument. Might I recommend Paul Hindemith's Harp Sonata. It's only about 11 minutes long and would be the perfect background music for relaxing or any tasks you might need to accomplish today.

Composition update: I've been having fun taking an old piano piece and turning it into a string quartet. Also working on a piece for clarinet and piano. Orchestra piece is taking me in a few unexpected directions. Overall, nothing overly exciting to report

What am I going to talk about next?

My feelings on the complex relationship between art and money (especially in the United States) have been accumulating over the past few years but in light of a recent event that is near and dear to my heart, they have been pushed to the front of my mind. Next blog post, I'm going to unleash these thoughts. Sometimes I feel I don't have the right to talk about money as I am still in school and have little "real world experience." However, I have read enough books and taken enough classes on the history of music to at least understand how much money can screw up the arts. I will be examining everything from the beginnings of music in America all the way up to why there are so many cliches in movies. So stay tuned for that.

Analyzing the short piano piece

So yesterday your assignment was to listen to this short piece. Now I'm going to talk about a few techniques I tried to use. If you want to try to find these techniques in this short piece I have provided the sheet music here

Chromatic Saturation

this is the subject

a subject is a short idea for which a whole fugue is derived. I can go more into the details of how this works if there is interest.

This subject is chromatically saturated which means that it contains every chromatic pitch between the lowest and highest note of the melody. here the lowest note is C and the highest note is G 

below are all the chromatic pitches between C and G 

this example shows that each note is present in the subject

Thematic Transformation

the numbers shown in the previous two examples will be used to explain scale degrees. Currently these numbers represent pitches in the chromatic scale but they can be applied to different scales.

Now the theme is made up of scale degrees in this order: 1,7,5,7,4,8,8,3,2,6

so if we apply those numbers to the octatonic scale instead of the chromatic scale we get a subject that looks like the one below

 any scale can be transposed (each note shifted proportionately up or down a certain number of semitones) the example below is the Octatonic Scale 0,2 transposed up three semitones

If you look in the right hand (the top staff) at measure 9 in the score you will see a transformed, transposed version of the original subject.

Stretto

To understand stretto, one must understand imitation. typically when one voice imitates another, it repeats the material of the first voice DIRECTLY after the first one is finished with the idea. sometimes it might be at the same pitch level (or transposition) or it might be at a different one

here is how that plays out at the beginning of my short piece

however, stretto occurs when the second voice enters with the imitation before the first voice finishes the initial idea such as in the example below

there's something about this imitation that is unusual. It has to do with one of the previous terms we learned. If you can figure it out then post it in the comment section of this article.

So I've been doing these daily composition exercises in a similar vein to the Mikrokosmos by Bartok. It's been a lot of fun so far. These are short pieces for piano that are derived from a small amount of material but that meticulously monitor each parameter of the composition (range, dynamics, number of notes used in certain sections ext.) For the exercise I'm going to show you today (written a few weeks ago) I tried to focus on chromatic saturation, thematic transformation, and stretto. If you don't know what these terms mean, don't worry! I'm going to explain them tomorrow (in a hopefully non-boring way.) Hurray! You get to learn something over the summer! I know you are all thrilled :P

For those of you who already know what the previous three terms mean, see if you can hear them in this little piece I wrote. 

The piece is only 43 seconds long so give it a listen!!! Bear in mind that this is an exercise

Social Media

Right now, while the summer is still young, I am scrambling around trying to get a presence set up online. In the relatively near future (less than a month) I hope to have a functional website up and running which will connect you to this blog, SoundCloud, Facebook, and my YouTube page as well as provide contact information and a comprehensive list of my compositions to date. Here's a link to my SoundCloud account which I just put up today. There's only one thing right now (a choir piece I wrote last year) but continue to check back because I will be gradually adding more music every few days or so. Anytime I do I will be announcing it on this blog.

Now for composition stuff. Yesterday I wrote a short piano exercise. This is part of a daily composition exercise I am trying to do. While these are mostly intended for my own private study and development, I might occasionally post a midi recording of one here and there. They are mostly in a similar vein of the Mikrokosmos pieces by Bartok. This comparison is in reference to the kinds of extreme limitations that are put on the parameters of each miniature piece. Maybe tomorrow I'll talk about what those pieces look like and give an example of one I did a few weeks ago for anyone who is unfamiliar with the Mikrokosmos. I don't claim to even be close to the same level as Bartok. I just think that this is an easy way to exercise your creative muscles through limitations. So look for that tomorrow.