A Piece Is Born – Update
It’s finished! Well, not really, but kind of…confused yet?
Since last I posted, here’s what I’ve done. I managed to spend a few hours shortly after finishing my last blog post (here it is) working on my new piece for Concert Band. In that time I did the following:
- Thought of a name – Odyssey
- Wrote a chorale theme to go with the opening fanfare theme
- Decided form-wise to go straight into the chorale following the introduction. It was tempting to go into a rhythmic, march type vibe and just restate the opening melody, but I decided to avoid that approach as I’ve used it before and just felt a little too obvious in this case.
- Setup a score in Finale
- Sketch in the introduction and opening chorale theme
- Decided to score the chorale for just flute and clarinets (+oboe maybe?) the first time through
- For the second time through the chorale, I’m going to give the melody to the a.sax + cl. + f.hn. My intention is to have the remaining brass and lower woodwinds play reasonably static chords to support the melody. The upper voice of this accompaniment may effectively turn out to be a quasi counter-melody.
It has then sat idle for a couple of weeks due to life being crazy and working somewhere else on my “writing day” until today. This morning I’ve spent another couple of hours working on it and you can look at my in progress score here Odessey – In Progress (concert pitch). Here’s what I’ve done this morning:
- Tweaked the tempo slightly from 116 to 108bpm. It just felt a little rushed at 116bpm
- Added the brass to the second time through the chorale. This might not be exactly how it finishes up, but it’s in the ballpark
- Form-wise, it felt to me like the opening fanfare melody should come back twice and that would roughly be the end of the piece. This meant:
- Deciding how to transition from the chorale back into the fanfare theme. I’ve used a classic device whereby the last part of the chorale is restated in longer (augmented would be the fancy music word here) note vales. I’ve also changed the harmony slightly so that the return to a “C” pedal feels like a key change.
- This in turn led to the quasi introduction type section at bar 31-38 with the clarinets playing a simplified version of the fanfare melody, with a “sparkly” response from the fl/ob+tpts.
- At this point, keeping the low brass and woodwinds on the same rhythmic figure for yet another two times through the fanfare melody seems like a long time for beginners to cope with. It’s also a bit boring for the listener. So I’m going to try to “get out” of that rhythmic figure at bar 39. I’m not sure whether I’ll keep the percussion going through here, and/or whether to have the accompaniment be sustained notes or stop time type “hits”
- Getting out of the continuous rhythmic accompaniment at bar 39, also creates more interest at bar 50 when it returns for the final statement of the fanfare theme.
- The piece finishes with the same compositional technique that I used earlier in the piece, namely, restating the end of the theme and then augmenting note values to create a sense of the piece slowing down before the big finish.
At this point, the piece is finished…kind of. I feel at this point that all the main structural elements are in place and that I’ve got a good idea of how it will be scored. If this piece were a table, I feel that I had all the main pieces cutout and stuck together. Now what remains is to sand, polish, and add “pretty bits”. Sp my to do list for this piece is now:
- Resolve the accompaniment at bar 39
- Finish scoring all the woodwind and brass parts. Notice that there is nothing in the bassoon, bass clarinet or baritone saxophone parts yet. These will end up doubling bass lines already present in the trombone/euphonium/tuba parts
- Score the percussion. Again, there is nothing on paper, but I have a good idea in my head of what these will look like. The percussion in this piece will largely augment the woodwind and brass parts, rather than supply an independent voice. This isn’t always the case and if there was a specific independent percussion part I wanted, it would be in the score by now. The percussion will likely end up with:
- Timpani – doubling the pedal bass line. Timpani is great for this as the player doesn’t get tired in the same way that a wind player does when playing for an extended period without a break
- Snare drum, Bass drum, Cymbals – these will play march/fanfare figures. Think John Williams Olympic fanfare type stuff.
- Glock/Vibes – the glock will end up doubling some melodic lines. I’m not really expecting to use the vibes, but it’s easier to have the line there in the score when setting it up just in case. If it’s not used, I’ll just delete it.
- Edit, tweak, refine until I’m happy. E.g. I’m still debating about making bar 37 a 2/4 bar (and losing two beats at this point).
Once that’s all done, I’ll more than likely leave it for a week or so, and come back and look at it again and make sure I’m happy. If not, then more refining, tweaking, editing until I am.
I’m off to have lunch…