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- Submitted: Jan 09 2012 05:50 PM
- Last Updated: Jan 09 2012 05:58 PM
- File Size: 6.42MB
- Views: 1252
- Downloads: 153
- Genre: Early 20th Century
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Sinfonietta 4th mov - piano reduction - WIP
0
Hereby a very first draft. Its a canon carcizans or crab canon, meaning, the second halve is the first halve in retrograde inversion. the middle is at the end of page 4, so print page 4 and turn it 180 degrees and you have page 5, page 3 upside down is page 6 and so on.
note the pivotal point in the scale is a C#, you cant really read from the score, but you'll get the idea.
Since transition from the one section to another are not always as convincing in retrograde inverse i am working on many passages. but this is about the concept and planning. with choralesque sections around 1/3rd and 2/3rd of the piece.
This follow the 3rd mov. attacca, where some of the thematic material, a tonerow, is presented.
note the pivotal point in the scale is a C#, you cant really read from the score, but you'll get the idea.
Since transition from the one section to another are not always as convincing in retrograde inverse i am working on many passages. but this is about the concept and planning. with choralesque sections around 1/3rd and 2/3rd of the piece.
This follow the 3rd mov. attacca, where some of the thematic material, a tonerow, is presented.
This would hold its own as a piano sonata by itself. It's very interesting material, and this kind of development requires an enormous degree of intellectual abstraction and composing skills. I can't really notice where are the 'bumps' you want to refine, but I can't but hope they come out easily. It's a bit long for a "Sinfonietta", however - but of course should sound even more interesting when orchestrated.
I would be interested to hear this orchestrated and in the context of the final piece. it has features which I can clearly see come from other movements - the quartal bass chords for example and the melodic character. I think it would be an idea to introduce other elements into the texture that are not part of the canon in order to keep it interesting as the movement progresses. So perhaps wind solos over the top that are very free and fast-moving, or colourful percussion writing. Otherwise this is going to depend a lot on orchestration to avoid sounding too similar after a while.
Indeed I am thinking about some wind-passages over, but in inverse that could really nice become a flowing cello line. I would feel defeated if I gave up the total canon concept. I take some pride in this to make it happen. It's allready a concession that the orchestral score wont be able to be read upside down (ie. picc. corresponds to cbass, flutes to celli, etc...)
I am searching for ways to make the texture more lively. Percussion could have been useful here, but in the other movement I haven't called for any percussion yet. Right now I am thinking to use the harp for that. some non-retrogradable motives.
I am searching for ways to make the texture more lively. Percussion could have been useful here, but in the other movement I haven't called for any percussion yet. Right now I am thinking to use the harp for that. some non-retrogradable motives.
I love this (the already orchestrated movements too) and like siwi, can't wait to hear the final orchestration. I particularly enjoyed ms. 33 - 43 (and 119 - 128). I don't think percussion would work with this.
Nice jazzy work, you know Cramer, i have reason to suspect there was some secret kompozer back in the 1920's that composed the most awesome music ever even for piano, but his works are not available to the general public. They were way ahead of their time & fully developed art forms, almost as if he was an extra-terrestrial being or humanoid from the future either or both from this blue globe & beyond. How i know this, call it a hunch!
This is awesome music, sounds perfected and complete.
The first 3 1/2 bars gives the impression that a tonal piece is about to come, and then you are surprised. That can be a good thing, but can also make the intro feel detached, in my opinion.
Great music!
The first 3 1/2 bars gives the impression that a tonal piece is about to come, and then you are surprised. That can be a good thing, but can also make the intro feel detached, in my opinion.
Great music!
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