Permutations II

Thus, we return to variations of Schoenberg, Webern, and Berg in this composition (Permutations II). But what Jawodruff does here is moire than is more than a simple combination of these three styles or composers tastes. No, he invites Ravel too and a taste of Bartok to. Well Bartok is on the sidelines. It is Ravel who really dances with the three atonal composers. How so? It is the motive itself. That is something that would ravel, not entirely--but similarly or relatively to--his style or period that Ravel's music is like. The small changes is also hint of something else...post-minimalism. We have a mixture of styles and focus of one: atonal composition that dances with many others. If you look at the harmonic language you can see different colors too! This is a important that a composer never truly writes in one style but his music shows all styles.

The point of interest of this composition that i really like are those tretachords that appear every now and again. You get four start in my book.

Quite wild. The whole thing strikes me less as being in line with the direction "whimsical" than it does with "violent;" it brings to mind memories of Boulez's hypercharged piano sonatas and the some of the more extroverted pieces from Notations. I didn't really analyze the piece so I won't make technical comments, but I enjoyed it. Your piano writing is improving, as well as your usage of musical material.

Thanks Guys.

@Aniolel: Interesting, you really here Ravel in this? Fascinating, I was just listening to him last night before bed.

@Voce: I certainly agree my piano writing is improving. I'm also doing more things with material than I was doing, say.. a year ago? I just wish I could take a course on utilizing Finale!! It's a good program, and I love using it... but sometimes it's a pain to get it to create a score that you are proud of.

Yes, there was Ravel. However, it was not a huge influence in this composition.

I don't really have much to say on this, except I really enjoyed it. I appreciate how you developed the material here, with the fannagling of the rhythm at the beginning motif, and that deliciously wild sound you created at measures 40-43 -- I thought that was a really excellent sound you created there.

Thanks for sharing -- this is cool

I liked it and heard influences from Ligeti

let me say the song is very cool! Im not sure I could come up with a song like that on piano however I do have a few things on the score. One if a pianist were to try to play this they wouldn't like all the accidentals you put in the song. try to put key signature changes throughout the score in order to get rid of that problems so playing the song is easier. Next it is just a few things I notice but assuming that you are in the time of 4/4 you should clean up you song a lil more like for example if there are two 16th notes next to each other make it an 8th note once again it makes the score easier to read. One last thing try to fit the music more on the ledger lines. At some points of the song the notes go about an octave higher and that can make learning a song for a pianist very hard. I would say change the clef. there should be such a thing as a treble clef with a little 8 on the top of it, that should move your ledger lines up an octave. I'm not trying to rip on your song at all I'm just telling you because that is the same advice I was given for a few of my previous songs that I wrote. however very awesome and mind bending I must say. I love the sound you def have something awesome there!

O wait I just saw your comment on the score you have never mind then its all good! my bad!

2 tips for a better score.

1) add a dotted half rest in the right hand staff, and hide it (press H I guess)
2) Use the "Reverse Stem Tool". You have to fiddle around with that. Select the upper or lower handle will alter the behavior.

Thanks Jaap. I need to sit down with the manual and really read it all and NOT just use help random times that I need it. It gets annoying.