Welcome to my blog

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.

Thursday, August 19, 2010

Fantasie Variations on the Polish National Anthem - End

Yesterday, I finished Fantasie Variations and I'm pleased with the way it came out especially considering the departure from my normal style. There are nine variations and I repeat the theme again at the end before moving to a coda.

The final fast section begins with a 5/8 variation where the measures are grouped 3+2. When I marked the tempo as 8th equals 240, little did I know that the tempo was ideal as it transitions with the eighth equaling the eighth into 6/8, where the dotted quarter equals 80, and then to 3/4, where the quarter equals 120, which was the tempo of the opening fast section. The opening piano motif uses the dotted eighth and sixteenth rhythm that permeates the theme. The saxophone enters (measure 147) with an elaborate filling in of the minor third opening interval of the theme with a turn (note, note below, note, note above). But the rest of the 5/8 is mostly free material, thus is very far removed from the theme. There are three large phrases for this idea (measures 147-165) and those 3 phrases repeat (measures 166-184), but with the piano doing the melody and the saxophone filling in for the first two phrases then back to the reverse for the last phrase. The 6/8 section at 185 varies the B part of the theme and is more recognizable even in 6/8. Hemiola of 3 against 2 is used a lot in this section.

An extension by one beat transitions the listener back into the minor variant heard earlier but with its own variation of the chromatic runs from measures 202-209. Measure 210-217 is a variant of the introduction and then the theme returns to remind the listener of what was varied. I set up the coda at measure 241 with a 5/4 measures that repeats the turn motif and sounds as if things are coming to a halt before the boisterous, rousing close.

After listening to the entire piece, I altered the chords in measure 125 so that the altered chords create a smoother progression. Because of this, I've included the entire composition in the 8/18 posting of the Sibelius file, but the mp3 is just measures145 to the end.

To see and hear what I have discussed, go to http://www.cooppress.net/Fantasie_Variations_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Tuesday, August 17, 2010

Fantasie Variations on the Polish National Anthem - Middle

To create a four-measure transition to the slower section, I used a motive from the first measure of the anthem in the left hand of the piano and answered it with the motive inverted in the right hand of the piano. The idea is extended freely as it modulates to F major and the Andante.

My idea for the Andante was to explore the feminine cadence style trait if the polonaise. A feminine cadence resolves on a weak beat instead of a strong beat (example: dominant chord on beat 1 and tonic chord on beat 2). I also used the same dotted rhythm motive I used in the transition as the basis for a free melody for this section. To break up the regularity of phrasing, there are meter changes, irregular length phrases, and a forte sextuplet that adds and element of surprise. Measures 113 to 120 is a variation of the second part of the anthem that incorporates elements of the measures preceding it.A sudden modulation using the sextuplet idea followed by a fragment of the Andante melody transitions the listener to the Lento.

The Lento is the most lyrical section of the piece. It is also freely based on the opening rising motive of the anthem but without the middle note. Lush harmony that contains some borrowed chords for chromatic interest permeates this section.

To see and hear what I have discussed, go to http://www.cooppress.net/Fantasie_Variations_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B

Thursday, August 12, 2010

Fantasie Variations on the Polish National Anthem

Hello readers. I have been working on a new composition for about two weeks. My work has been sporadic because I have also been completely revising my website which is now up and running.

My new composition is being composed for saxophonist David Wozniak and pianist Libby Vanatta who received a Recording Grant from Co-op Press. David wanted a new piece with Polish influences and suggested using the Polish National Anthem.

I find it challenging to compose a composition based upon music with a very simple structure. The chords of the anthem are I, IV, V, the melody is totally diatonic, the meter is 3/4 with a Polonaise rhythm, the form is AB and the phrases are four measure phrases. In in order to be consistent, stylistically, one needs to respect this simplicity, yet at the same time, strive to be inventive.

I began with a simple introduction using motives from the melody is a brief contrapuntal treatment. After an eight measure introduction, the anthem is stated with the polonaise rhythm. On the repeat of the B section, I ornament the melody a little bit.

At measure 33, my ear suggested a minor mode variation. The piano plays alone for the first eight measures then the saxophone joins with a chromatic variation on top of the chordal piano part. I end this variation with a 4/4 measure followed by two more 4/4 measures as an interlude. This breaks up the 3/4 pattern.

The next variation is quieter and thinner in texture, just the saxophone variant and the left hand of the piano. After eight measures, this repeats, but the right hand of the piano does some staccato arpeggios before erupting into a chromatic flourish. Once more I end with a 4/4 measure followed by two more measures of 4/4 interlude.

The last new variation of this fast opening section is the farthest removed thus far. The interlude that precedes it uses some chords in fourth that sets up a looser melodic and harmonic variation. I change meter more frequently therefore creating variety in rhythm as well.

To end this fast section, I repeat the minor variant from earlier but add a little saxophone fill in the sustained notes of the first eight measures.

I plan to transition to a slower section and will discuss that after it is composed.

To see and hear what I have discussed, go to http://www.cooppress.net/Fantasie_Variations_blog.html. You will be viewing a transposed score.

As always, your comments are appreciated.

Dr. B