28 - 29th May 2015

Having created the two bar motive Breeze (see Day 7) I noticed that the metre grouping was incorrect so I adjusted the time signature from 9/8 time into 9/16 to convey the desired pulse. I then spent a large chunk of time doubling the length of all the notes for the first half of the music I'd written, as well as the time signatures, so that all the notes were twice as long but would also be played twice as fast and therefore sound the same as the previous notation. I did this to see if it would provide a clearer and more visually simple notation for the performer. This actually worked well for the Breeze sections of the piece but less well for the rest of the music, so I decided to return to my original metric representation (fortunately I had the forethought to only try these large changes in a separate document). I have removed the violin line from the score, as the music currently works well as a solo piano piece. I intend to experiment with arranging the music for different instruments at a later date, but at this stage it made sense to simplify things by laying the ground work using just one instrument (piano). 

I have grown to really love the Breeze motive and so I decided to use it again after the second statement of the River + Rain motive, but in variation. For this particular variation the most obvious changes were achieved by swapping the harmonic language from how it occurred previously. For instance in Breeze 1 the first two bars (as shown below figure 8.1 bar 14 - 15) use F#,C#,G# and D# and the second two bars (16 - 17) use F# (unchanged) C natural, G natural and D natural (except for in the last beat of the bar). In Breeze 2 this harmonic language swaps so that the first two bars (figure 8.2 bars 26 - 27) use C natural. D and G are not present in the motive (except for the lead in last beat of the bar) but D and G natural are implied by the use of C natural. Then the second half of the motive (bar 28 - 29) use the F#, C#, G# the opposite to what occurs in figure 8.1.   

Figure 8.1: harmonic language of Breeze 1 second half  

© Katherine Rawlings 2015

© Katherine Rawlings 2015

Figure 8.2: Breeze 2 second half harmonic language swapped from Breeze 1

First two bars C natural, second 2 bars C sharp. Opposite harmony to Example 1. 

First two bars C natural, second 2 bars C sharp. Opposite harmony to Example 1. 

So far the music runs for approximately two minutes and it is my feeling that at this point I should introduce a new feeling or mood. Perhaps something a little more staccato or abstract or not so rhythmically predictable. This would serve as a middle section. Figure 8.3 shows a photograph of a rhythm sketch that I could use for the middle section. 

Figure 8.3: photograph of rhythm sketch. 

© Katherine Rawlings 2015

© Katherine Rawlings 2015

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AuthorKatherine Rawlings