27th May 2015

There is a two bar motive in bar 9-10 of the music that I wanted to experiment with developing further. To my ears it feels too robotic and not harmonically or rhythmically interesting enough. Today I worked solely on developing this two bar motive from what is shown in figure 7.1 in 12/8 time, into what is shown in figure 7.2 (in 9/8 time). In order to easily identify this new motive, I have labeled it: Breeze 1.    

Figure 7.1: day 6 motive used for development into Breeze 1 motive

Day 6 motive bar 9-10

Day 6 motive bar 9-10

Figure 7.2: motive Breeze 1

Development of Example 1 motive. 

Development of Example 1 motive. 

In the above figure 7.2, bar 11 sounds a little Debussy-esque. This is most obviously identifiable by the use of the whole tone scale in the second half of the bar (C, D, E, F#, G#, A#). References to this Impressionist sound crop up in my music occasionally. This is no surprise as in High School I would proclaim Debussy to be my favourite composer for the piano. I was a huge fan of Impressionist music and deeply admired Debussy's ability to create music that was so visually evocative and emotionally moving. Clearly "his sound" has left a mark on me. Certainly I identify with the premise for impressionist music, that is creating music based on the expression of emotions influenced by a subject. This reminds me of a quote I read recently on Brain Pickings made by "French Renaissance polymath and proto-blogger Michel de Montaigne":

“I have gathered a posy of other men’s flowers, and nothing but the thread that binds them is mine own.”   I love the poetry of this quote. It so eloquently describes the evolution of human innovation and creativity. I think that we are all collectors of other peoples ideas, and influenced in all that we do by what we know, learn and experience. 

Having developed the motive Breeze (figure 7.2), I then repeated it in variation (I was told in my student years by Melbourne composer Brenton Broadstock, if you like something, repeat it). From there I moved back into the motive Water Ripples + Rain Drops (see Day 6) as I had done in the previous drafts however this time I altered the harmonic language slightly (using A# instead of A natural in the right hand, and F# instead of E in the left hand) as another instance of variation. This conveys a more gradual and natural sounding transition between the two motives and helps to connect them. Its variation also avoids the monotony that may be felt by exact repetition. Figure 7.3 below shows the motive Breeze 2 (the variation on Breeze 1) followed by motive Water Ripples + Rain Drops 2 also in variation as mentioned above. 

Figure 7.3: Breeze 2 followed by Water Ripples + Rain Drops 2

Figure 7.3:  Breeze 2  (bar 12 - 13) followed by  W  ater Ripples + Rain Drops 2  (bar 14 -17). 

Figure 7.3: Breeze 2 (bar 12 - 13) followed by Water Ripples + Rain Drops 2 (bar 14 -17). 


AuthorKatherine Rawlings