The first piece I showed to the class I would consider to be the second of the three pieces. It concentrated on constant rhythmic patterns and showed little to no change in dynamics. I originally intended for it to be a piano and violin piece, but since we are sticking to one instrument with the piano I've decided to transcribe it for cello. This works out to be alright since I had it mainly in the lower range of the violin to begin with, so there shouldn't be too much messing around.
The piece I performed today with Saird was more free of tempo and contrasted in dynamics. It was colored with atmospheric sustaining chords, trills and very minimal fast moving passages. I big difference to the previous piece. My approach for this piece was to portray someone being restless. The chords that are held in the beginning symbolizes that feeling of just lying in bed staring at the ceiling while trying to sleep. Each little section after that, beginning with a louder dynamic, symbolizes shifting into different positions and trying to get to sleep while the measure with the descending chromatic scale suggests the point where you are kicking your sheets and throwing around your pillows. The ending two chords that are repeated back and forth with varying changes in tempo changes from a fast beating heart in distress to eventually conclude into the character falling asleep, which brings you to the beginning of the above composition. My intention for this piece was to display a horrible nightmare that you can't wake up from. It is relatively distraught and agitated. So for my third piece I am trying to consider the possibility of using little to no chords and less dynamics to contrast the other two compositions and create a different character to complement the other two. I think in order to achieve this I am going to have to consider having a main melody line which is lacking in my other two pieces. I'm still trying to grasp the concept of writing a singable melody in atonality, which I find is very prominent in Saird's compositions in particular. Good job there, boy!
As far as criticism goes, I am perfect!
...but not really
Kate mentioned to add some more pizzicato in the piece I performed today which I thought would be a great idea. I by no means trained in anything that uses a bow, so I would definitely need to sit down and take some time going over my pieces with someone who is.
My notation was a little off from what I had played in class so I am going to have to back track and make some corrections there. I'm definitely going to just record me playing the piano part live and writing out what I have recorded, because I think the whole 'play a few chords here and notate them there' approach threw me off a bit in the overall perception of the piece.
My first piece was, for one, played on my phone and obviously not a good representation of it whatsoever and also was played during the last couple minutes of class so I never got as much criticism on that as I wanted, which is why I'm glad I never had to go last today. I'm making a few drastic changes with it this week and I'm hoping to play it in class next week along with mine from this week or potentially my third composition.
whoa!
that's a lot of writing!
maybe I should call it a night now and see what people have to say!
bye bye
-robbie b is good to me
1 comment:
That IS a long journal entry, Robbie, but a very fine one and I enjoyed reading it. I'm looking forward to hearing your next piece, and the final versions of all three!
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