Assignment Two: Fantasy for Solo Flute

I have very much enjoyed exploring some of the different scales available to the contemporary composer, which are markedly different to the major/minor scales that I’m used to. I found some scales easier to work with than others, particularly the ones I used in my solo composition, namely the Eastern European scale, the Middle Eastern scale and the chromatic scale. I think the Eastern European and Middle Eastern scales in particular have strong characters which I felt able to exploit in my composition.

Excerpt from Fantasy for Solo Flute

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Score Description

 The piece begins with a short introduction which serves to establish the rhythmic centre of the work, and the uneven kilter of 5 quaver beats to a bar, as well as to emphasise the note D, which I use as my ‘home’ note through most of the piece. In bar 5 the first theme (A) begins, and is repeated before its counterpart (A2) is also stated and repeated. We then hear (A) again, which this time leads via a syncopation type idea to the second theme (B) of five bars, beginning in bar 17. This theme introduces a more flowing nature to the work, although I do use staccatos on beat 4 in the first and second bars of the theme to preserve an element of ‘jauntiness’ in the melody. The third and fourth bars of theme (B) are scalic in nature, and this is where the listener first gets to hear the Eastern European flavour in its entirety.

After a repeat of the second theme (B), I then created four bars to act as a bridge to the subsidiary material. I use quintuplets in a descending chromatic scale, with the player using flutter-tongue technique, with the purpose of surprising and disorientating the listener, and in effect trying to ‘erase’ the Eastern European sound, ready for the modulation to the Middle Eastern scale in the subsidiary material.

After a full bar’s rest, prolonged with a pause symbol, we hear new material (C). This represents a drastic change to the quite fast paced and forward moving themes heard so far. The tempo is in fact the same, but the flautist is instructed to play in a more relaxed way, with swung rhythm. There are substantially less semiquavers used in the (C) section, which helps with the more laid-back feel, although I do reuse the demisemiquaver fragment from theme (A) twice in this section, to create a mild sense of familiarity during this strange and unexpected turn of events. Frequent use of quaver triplets adds to the lyrical and flowing nature of this section.

There is then a further metric modulation marking a return to straight quavers, with alternating octave D’s used in a broadening effect, getting progressively slower and louder, climaxing on the high D with the help of a pause. At this point there is a return to the (B) theme, in the original Eastern European scale. An abrupt ending of this theme gives the opportunity for the (A) theme to make a return, this time exploiting the lower end of the flute’s range, before steadily rising back to the previous pitch to end the piece.

Reflection

 Composing a melody for a solo woodwind instrument was a task I was very much looking forward to, if a bit apprehensive of. Most of the scales explored in this part of the course were completely new to me, and it was helpful to listen to other solo woodwind works to find out when and how some of these scales were used by other composers. Researching each woodwind instrument is some detail especially in terms of their capabilities and practicalities was of obvious benefit, and was helpful in terms of choosing an instrument for which to compose.

The main themes in my piece, (A) and (B) were minor developments of short melodies I composed in the exercises for this part of the course. I like the idea of creating a ‘musical scrapbook’ of sorts where I can create short ideas when ideas arise, which I can later plunder when needed for longer compositions. Another idea which I am going to implement is keeping record of interesting fragments I encounter when either listening to or playing music. It could be a particular chord I like the sound of, an exciting rhythm, a certain instrument or technique etc. By keeping an archive of these fragments I can use them for inspiration at a later date.

I ultimately chose to compose for the flute not so much for its sound, but for its capabilities and its different sound qualities in its various registers. Creatively I felt able to work comfortably with an instrument that has such a lush lower register and clear upper register. Its extended techniques also appealed, and I was very much drawn to the sound of the flutter-tongue technique. A book that I’ve referred to a lot in the course so far is Samuel Adler’s Study of Orchestration, which has accompanying CD’s that contains sample recordings of the various instrument’s playing methods. When hearing the flutter-tongue samples I was adamant that I wanted to incorporate it somewhere into my own composition, although I was wary of overusing the technique.  

As in the first assignment, I found having a rough plan in place before beginning to write was immensely helpful in giving me direction. The final result is close to, but not exactly like my plan, as inevitably things change during the creative process.

Difficulties I encountered but ultimately overcame were how to incorporate more than one scale-type into my composition without the modulation being too jarring. I did this with the help of a third scale (chromatic), although it was clear to me in the planning stages that the transition would be abrupt, not smooth. Bridging the gap with a chromatic scale, and having a pause just prior to the (C) section I think helps the listener let go of the sound of the old scale and absorb the new. Creating subsidiary material that I was happy with took most of my writing time, and a lot of experimentation with speeds, scales, rhythms etc. In the end I chose to be rhythmically contrasting, with the swung quavers, but tonally similar (I think the Eastern European and Middle Eastern scales are quite close sounding).

Meeting the Assessment Criteria

Technical Presentation

I am getting more and more familiar with the Sibelius software as time goes by. If there’s a particular notation that I want to use but don’t know how to access it, then I make use of the Sibelius forums and other online help to find the answers. Examples pertinent to this assignment would be metric modulations and technique text. The score is clear and legible, with the staves spaced for easy reading.

Compositional Skills

In this composition I think I have successfully expanded and developed previously written fragments, and integrated them into a larger work. My piece has an organised structure to provide unity and cohesion, and I use regularly repeated rhythmic ideas throughout the whole work to tie it together and create a sense of familiarity for the listener. I have used a range of articulations suitable for my chosen instrument, as well as structuring phrase lengths in a way that gives the player time to breathe.

Creativity

I think that in this piece I have been creative in my choice and use of the various tools available to me as a composer. The irregular time signature of five quaver beats to a bar enhances the jaunty rhythm of the main themes, and I contrast with a different time signature in the subsidiary section. I feel my staccato placement in particular shows sparks of creativity, serving to accent the more unusual time signature. My exploration of extended flute techniques, and the use of swung quavers in a non-jazz setting are examples of where I have attempted to ‘think outside the box’, without overuse of such techniques.

Stylistic Awareness

Other composer’s works are a particular inspiration for me, and borrowing an existing idea then taking it in a completely new direction is something I particularly enjoy. The ‘dotted-quaver, demisemiquaver’ rhythm in theme (A) was borrowed from Debussy’s Syrinx, which I then used in a totally different way, and incorporated into other themes in my melody. Swung quaver time making an appearance in the middle section of a piece is something I have come across in jazz-style solo piano works, and also in works by Japanese composers, such as in Mika Matsūra’s piano arrangement of the soundtrack to Ōkami.

The idea of creating my own melodic fragments and keeping record of others is something I mentioned earlier in my reflection. I listen to a great range of music every day, and somehow keeping record of interesting rhythms, melodies, chords, instruments, techniques etc. as I hear them would make for a very helpful resource in future compositions.