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
Score Description
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
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.
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