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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.

Friday, June 29, 2012

Funtasies Movement 4

I have completed the last movement of Funtasies and I am pleased with the results. As my previous post indicated, it was not always smooth sailing.  I began to realize part way through the movement that what I was thinking was writer's block, was just the nature of composing some of the time. I have written some compositions that seem to come very easily and other times, composing comes very slowly, bit by bit until the composition begins to take shape. I realized I just needed to be patient and let the ideas come at their own pace. There were days when I would compose for an hour and get only two to four measures written. But those measures were good and they suggested where to go next and gradually the movement was completed.

The movement is called "Teasing" and is in a modified Rondo form ABACBA. The teasing occurs in many different ways. The first appearance is the way the movement seems to stop and start as if promising a longer line, but not delivering. Measures 14-18 deliver the longer line, however the syncopation still interrupts its flow. Measure 19-32 is a transition section that is filled with imitation, syncopation and chromaticism that keeps the teasing going.

M. 33 begins the B section. The left hand of the piano plays a syncopated idea consisting of wide intervals and frequent rests. The right hand inserts a jeering four note motive. The saxophone plays a melodic idea centered around a descending minor third, the universal teasing chant interval. Some of the roles are reversed at m. 41. From M 47 to 60, the ideas develop and introduce a triplet figure that represents laughing. M 61-75 is a return of the A Section. From M 75-88, the transition section occurs once more but this time with more of the laughing triplets.

M 88 begins the C section in 7/8. I feel this as a chase scene, as if a game of tag is being played. It builds in intensity all the way to M 115 before subsiding into a return of the B section at M 118. M 146 brings back the final A section which morphs into a coda at a faster tempo. The ending continues the teasing by avoiding a strong cadence with deceptive chords and melodic lines of vague tonality/modality.

A lot of the programmatic aspects of the movement must have been happening subconsciously while I was composing the piece, but it wasn't until I was nearing completion, that I was aware of how perfectly the musical ideas present different kinds of teasing.

I am now using flip pdf technology for the musical examples that go along with my posts. It uses Flash Player that most browsers come with. You will be hearing an mp3 of sampled sounds playing the music and you will see the score at the same time. You will need to turn the pages by clicking on the arrows at the appropriate time. To see and hear what I have discussed, go to http://www.cooppress.net/funtasies_blog.html.

As always, your comments are appreciated.

Dr. B

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