Draft #4

Just like how our feelings vary from one point in time to another, I believe that music also moves and fluctuates from one section to another.

With this point said, I decided that I’ll compose with an entirely different effect in section C; almost as if I was composing for a different piece.

Relating back to my ideas from draft 2, I’ve decided that my concept of “2 note snippets” was a great place to develop this idea into section C. However, instead of using two rows simultaneously, I’ve decided to keep all five tone rows to create suspense, tension and agitation by using a wider range of tonal palettes.

5 different rows that I’ll be using to compose section C (same as draft 3).
Using the next 2 notes of each row. Order: P- I in Db, R in Eb, RI in E and RI in A.

As you can see above, I’ve incorporated Hauer’s use of octaves into section C of my composition. Although, I liked the idea of keeping the intervals open and resonant, I didn’t wish to use the octaves for the purpose to create a calm and dreamy effect. Rather, I wanted the polar opposite; a sudden dramatic effect that almost sounded as if someone was banging or stomping from fury.

The use of the five rows helped me in creating this effectively. Its various intervallic leaps that move jaggedly up and down on the page seems to correlate with the protagonist’s sudden fury and uncontrollable anger. In addition to this, the advantage of having no tonal centre and its use of hectic semiquaver passages (semiquavers were not introduced anywhere in the piece before) strongly portrayed the emotional and physical state the protagonist was feeling.

The use of octaves seemed grand; as it everything was magnified. Most importantly, I really liked the sound of it and its intense and rigorous effect. However, I later found out that it wasn’t playable as I’ve tried playing the piece myself at crotchet = 95. So, I altered it by deleting the higher octave in the bass and the lower octave in the treble. It was indeed much more playable!

See my previous version (octave) by clicking this link: https://drive.google.com/open?id=1WvyM50HnM0Bc8c14qwND4tQFYJaHN80F

See my current version (without octaves) at: https://drive.google.com/open?id=1BUp5MBN6gTy1-02PDvKWBmlKmCAnACWc


Another one of my recommended list of YouTube videos was Anton Webern’s String Quartet Op. 28. See https://www.youtube.com/watch?v=5r29_vMzRF8 (includes audio and score).

It was not only fascinating to see how Webern divided the attention by passing various roles between each instrument, but also his use of silences. To me, it seemed almost as if his use of silences were mostly commentary/ transitional into the next phrase, rather than as an opening or ending device for the next phrase. Listen to specifically 0:25- 0:57.

Influenced by his use of commentary silences, I’ve decided to incorporate this into my own composition in section C. Just like how woodwind and brass players need to breathe, I’ve used quaver rests to suggest the protagonist’s impatience (also used accelerando to express this) and minim rests to show that the thoughts of the protagonists has been abruptly interrupted momentarily.