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I have created this site in order to provide performers, listeners and composers with a description of a composer's experiences with the creative process. The posts will provide discussions of the inspirations, challenges, and successes of a composer from the inception of the piece to the culmination in performance. I will provide a link to where you can see and hear the works in progress. Comments and questions are always welcomed. They will not posted unless you grant me permission.

Wednesday, October 24, 2007

2nd Movement and request for help

I have completed the second movement but before I discuss what I did, I thought I’d explain the title “Microcosms” and request your (the reader) help in finding names for the rest of the movements. A microcosm is a diminutive, representative world; a system more or less analogous to a much larger system in constitution, configuration or development. My dictionary uses the illustration of a town meeting being a microcosm of American democracy. I named the first movement “Nebulae” representing what I picture cosmic gas and dust, with its contrasting light and dark appearance, would sound like if the visual image was translated into sound. It can be thought of as a microcosm of the universe. I have named the second movement “Leprechauns” because to me, it sounds witty and impish, an idea I associate with these legendary Irish fairies. They can be seen as a microcosm of a part of humanity that is playful, sly, and hoards wealth.

By now, you can get a sense that there is a lot of poetic license in coming up with the titles. I’m looking for interesting titles that reflect what the music is about and that have a microcosm relationship. Below is a description of the nature of each movement as I perceive it:

III – busy with pompous interludes
IV. Very intense
V. Schizophrenic
VI. Playful
VII. Lonely – lyrical
VIII. March-like

So send me your comments with your ideas.

Movement II – Leprechauns begins with a staccato accompaniment in the first two measures. Notice how the left hand in measure 2 imitates the descending scale of the piano right hand in measure 1. The saxophone melody has four motifs, measures 2,3,4, and 6 respectively. They are constantly juxtaposed to create the entire saxophone line. The piano accompaniment interplays with these motifs, sometimes by supporting them with something similar and other times being imitative. Chords in fourths and triads wander freely with regards to tonality, so freely in fact that is difficult to decide whether I should use sharps or flats for the clearest notation. During the last 8 measures, imitation predominates leading the to quiet, magical ending.

I work in concert pitch, but the score I am posting has the saxophone part transposed.

To see and hear what is discussed, go to http://www.cooppress.net/microcosmsblog.html

Dr. B

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