One of the points that I was making in my last post was about being careful not to get stuck in a pattern just because that is what you were planning. In previous posts, I have also urged trying to keep a pattern going as it often can create great continuity in the composition. These two thoughts may seem contradictory, and in a sense they are, but the bottom line is that one needs to let their ear be the guide. The ear tells the composer which of these is needed at any particular time.
As I was listening to what I had written thus far, I was becoming aware of a need for a change of tempo, meter and mood. Verse three seemed more reflective than verses one and two, so I slowed the tempo down and changed the meter to a moderate 3/4. I transitioned into this change by extending the end of the 4 part contrapuntal section that set up a more relaxing section that uses alternating 8th notes, triplet and 16th note patterns. The harmony is more lush therefore the piano plays a primary role. After creating the two measure piano interlude, I concentrated on the vocal line. After I wrote the melody for the first two lines of the verse, I went back to fill in the accompaniment. The piano continues some of its independent lines similar to the interlude but also begins to overlap arpeggiated chords. Some of these arpeggiated chords create a mild bitonality. In order to assist the vocalist with the stronger tonality, I bring in the flute alternating and overlapping with the clarinet on a quiet murmuring figure. The overlap is a continuation of the overlap principle introduced in verse 2 (an example of carrying and idea through for unity).
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