Then, thinking back to the good-old da capo aria, I thought it would be funny to have a reverse version of the format. Typically it would be happy-sad-happy - which never really made sense in moving the opera forward. So, instead I think I'll have a frustrated and negative interaction (more tension) as an A section, then a atonally resolved and peaceful B section, going back to the angry A - embellishments adding more to that energy. It kind of mirrors a lot of unhealthy relationships people put themselves in.
I should write about the piece itself, and the process I went through. I experienced ultimate frustration yesterday, I have an unregistered version of Sibelius, so initially I started noting by hand. Which was painful, being not so proficient on piano made it difficult to try and communicate any idea what so ever. I ended up writing in Sibelius - and being unable to save it left the program open all day and night. I ended up creating a pretty tense progression in the first four bars in the piano. The violin then comes in aggressively, but there was the comment of making that energy gradually build.
So, after the piano's intro, I'm going to use the same progression and establish the sonority further by easing the violin in, instead of having it do a canon ball. I felt I had three different ideas in the page of music I created, and to get the most out of them it will be a good idea to revoice and stretch the ideas further, develop them more. Some other things I have to look at; writing for the violin (bowing options, range), writing accidentals for ease of players, perhaps a time change for a B section, and slower or faster movement in lines of ascent (what kind of character do I want to establish?).
Anywho...I should go back to paying attention to a presentation on Adolescent Social Stressors.
Stephen
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