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By Monarcheon · Posted
@luderart That's fair enough. I'd encourage you to, still. If you've listened to the music by Anton Webern, he wrote incredibly short pieces, often just under a minute, but the writing is so subtle and tight that they're extremely well known and revered by theorists (i.e. Op. 10). You don't have to write as well as Webern, but that kind of approach (making sure relationships of similar types are omnipresent) is not a bad one. -
Thanks for the clarification. I'll see what I will do. I still have some time to decide whether I will enter the competition.... -
By Monarcheon · Posted
The time maximum is more important to me than the minimum. The minimum is added basically to ensure sufficient motivic development. It is difficult to do so with less than 45 seconds of new material, at least when you apply Forte or Perle's analytical systems (Schenker and Koch are bit more lenient). If you're so inclined, please update me on the lengths of the movements as they are written, when I'm able to make a more comprehensive judgment. Basically what I'm trying to say is, if you're close enough to a minute, fine; you won't be penalized if it's close enough. However, there are other criteria that could be affected by it, but not necessarily if the writing is tight enough 🙂 -
About 6 seconds long including the final rest. Without it, it is a little less, 4.8 seconds. If it is a problem, I might work on and post it as a piece "inspired by this competition" and not enter it in the competition. The movement is not finished by the way. I am still revising it and now it's about 50 seconds long. But the problem might recur in the next 3 or more movements.
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By Monarcheon · Posted
Let me ask a follow up question to you then... how long is your shared material? Perhaps enough of an exception can be made. I ask this because only 5% of the movement needs to be shared material. In a 48 second work, that means only 2.4 seconds must be shared, which is not a ton.
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