Sketch 4-4

Hello

I’m writing a series of short pieces for orchestra using ‘modern’ musical languages. I’m doing this because I enjoy it and to develop my skills in orchestration.

I write them for piano first, but with orchestration already in mind. However, I don’t include the piano version.

In this case, it’s a PC Set (postonal theory) consisting of just four notes, with the form (0125) corresponding to Forte 4-4. As an example, starting from C, it would be: C – C# – D – F.

It is then treated in many different ways: horizontally, vertically, inverted, rotated, etc., etc....

The piece has been reviewed by an expert composer and orchestrator.

Although, of course, there are a thousand things that could be said about it.

SKETCH 4_4.pdf

Hello @Luis Hernández! It’s a wonderful piece—kind of reminds me of Schoenberg’s Op. 16. It’s difficult to comment on the structure of the piece as I’m just starting to work with pitch class sets.

Can you explain a little further your thought/creative process when using them? How strict/free was your treatment of the 4-4 set in this piece? Is all of the material derived from it?

I really like the sense of orchestral color, and those delicate transitions between dynamics. Great work!

Edited 9 hours ago9 hr by CrystalCanon

@CrystalCanon

Thanks for listening; I'm glad you liked it.

This set of notes is very small—just four—but I saw it in a piece by Schoenberg and wanted to experiment with it.

It’s hard to point out all the relationships in this short piece, but practically everything is derived from that set. Horizontal sequences appear, as well as vertical chords—rotated, inverted, and so on.

I think the genesis of these pieces is like that of all others: planning a structure, marking the cadences, and planning the climactic moments, as well as the moments of tension and repose.

From the previous version for solo piano:

Edited 7 hours ago7 hr by Luis Hernández

Hi Luis.

It's good to limit yourself in this way, as it forces you to be creative, and I think you've pulled it off well.

I've found the Glockenspiel quite hard to use, as it's so metallic, it can really stick out.

Here I think it works well though.

The only thing I would say, is that you rarely, if ever, see chords in the glock. That's because they're difficult to perceive in such a high register. (I did use some in my latest orchestration; but I've been told it's a bad idea.)

Hello

I agree about the glockenspiel – it’s very, very piercing. So it should be reserved for moments of great brilliance or when the whole orchestra is playing at full volume. Or used very sparingly.

But there’s one thing I’d like to mention. And that is that, for me, using a set of notes like this isn’t limiting at all. The possibilities offered by using something like this are limitless.

It’s simply a framework to build upon, just like a major or minor mode, or a thousand other things.