silliness.
i suppose this is my
'congratulations for finishing whatever-title SNES RPG!'
music.
:-)

return to onett

will upload an actual performance soon, this from sibelius.
 
'german silliness'
last composition of the semester
for marimba, alto saxophone, & clarinet
 
for those who are interested:
	Entire piece composed with pitch class sets. I chose two sets for the piece, Forte 4-9 [0,1,6,7] & 5-7 [0,1,2,6,7]. The first set, 4-9, is inversionally invariant; set 5-7 inverts to [0,1,5,6,7]. Sets 4-9 and 5-7 are in Kh relation. Various permutations (transpositions/rotations) and inversion are utilized throughout.
	The first section of the piece, mm. 1-21 (up to the swing marimba accompaniment), utilizes set 4-9. Set 5-7 takes over in m. 23 and eventually 4-9 is reintroduced. 
	The clarinet and sax parts in the first section consist of several phrases that utilize 4-9. In addition to the use of [0,1,6,7] to determine individual pitches in a given phrase, both the clarinet and sax follow a phrase sequence that adheres to [0,1,6,7] via phrase root. This sequence assumes C=0. The phrase roots in the clarinet sequence follow the original set [0,1,6,7] while the phrase roots in the sax sequence work in retrograde as [7,6,1,0]. Two iterations of this sequence occur before the transition into the second section in m. 23. The diagram below illustrates the phrase sequence in clarinet and sax (set order in individual phrases listed in prime form, various permutations utilized):
 
clar - P#1-[0,1,6,7] on C{0}. P#2-[0,1,6,7] on C#{1}. P#3-[0,1,6,7] on F#{6}.  
sax - P#1-[0,1,6,7] on G{7}. P#2-[0,1,6,7] on F#{6}. P#3-[0,1,6,7] on C#{1}.
   
P#4-[0,1,6,7] on G{7}.
P#4-[0,1,6,7] on C{0}. 
 
 
	So! Now we know how set 4-9 generates specific pitch material on the level of individual phrases, and how the relationships in 4-9 provide the basis for the phrase sequence in the clarinet and sax. 
	The structure of the piece is also largely informed by the relationships in sets 4-9 and 5-7. By looking at the half-step distance between pitches in the sets, one can think of them proportionally: [0,1,6,7] translates to (1-5-1-1) and [0,1,2,6,7] translates to (1-1-4-1-1). This proportional analysis allows for greater cohesion through set-informed rhythm as well as the usual set-dictated pitch. 
	The rhythms in the clarinet and sax phrases in mm. 1-21 are determined by the proportions from set 4-9 (1-5-1-1). For example, a clarinet or sax phrase in the first section would have rhythmic values similar to those below:
 
16th / quarter tied to 16th / 16th / 16th = (1-5-1-1) proportionally
 
The (1-5-1-1) proportion is realized in both the clarinet and sax phrases in various forms including augmentation (basic 2x aug. as well as 1.5x) and retrograde. Clarinet and sax will occasionally follow the same form of the (1-5-1-1) proportions in rhythmic unison, but most often realize these proportions in different forms simultaneously.
	The marimba part utilizes set 4-9 in mm. 1-21. The set [0,1,6,7] is realized on three different roots: C, E, G#. Though the marimba's pitch material in the first section is dictated by 4-9 as mentioned above, the structure of the harmonic rhythm for the marimba in the first section is based on the proportional analysis of the second set, 5-7 [0,1,2,6,7], which is (1-1-4-1-1). The (1-1-4-1-1) relationship is realized through movement between different set roots in the marimba. This proportion occurs on a much larger scale than the proportions mentioned in the clarinet and sax parts:
 
[0,1,6,7] on C - measures 1-3, 10.5 beats {1}
[0,1,6,7] on E - measures 3-5, 10.5 beats {1}
[0,1,6,7] on G# - measures 6-17, 42 beats {4}
[0,1,6,7] on E - measures 17-19, 10.5 beats {1}
[0,1,6,7] on C - measures 20-22, 10.5 beats {1}
 
	The result of all the whatnot mentioned above is that the first section of the piece is highly informed by the chosen pitch class sets on various levels, from individual pitch to phrase sequence to the entire harmonic rhythm (in the marimba) of mm. 1-22. 
	Bleh.
	The second section of the piece is much more 'intuitive'; it uses set 5-7 [0,1,2,6,7] and its inversion [0,1,5,6,7] in various permutations. The clarinet and sax parts follow the sets strictly (though the sound is deceptive, occasionally changing set root mid phrase) while the marimba has a bit more freedom. The swing marimba line is derived from both 5-7 in prime form [0,1,2,6,7] and its inversion [0,1,5,6,7]. Technically the use of both '2' and '5' makes this set Forte 6-Z6, but my intent and the path by which I arrived at this use was through 5-7 as mentioned above. At any rate, the resulting phrase in the marimba is (lower sounding pitches listed on lower line):
 
7   5   6
0   1   2
 
This three chord sequence is repeated with slight changes from m. 23 until the final two bars of the piece. The pattern is played on C, Bb, C, D, repeat. The move between roots in combination with the occasional partial realization of the sequence gives - I hope! - a shifty feeling to the marimba part, the 'root' being uncertain in a few places. 
	Beginning in m. 52, as the marimba accompaniment moves from compound to simple division, the sequence is doubled a perfect 4th above and played in unison with the original. The original 4 root pattern remains, with these additions:
 
F   Eb   F   G
C   Bb   C   D
 
In addition to the move to simple division, the marimba also adopts a two beat rhythmic pattern, alternating beats between 8th/8th and 8threst/8th. This 2beat rhythmic pattern further clusterfucks the situation in contrast with the 3beat chord sequence. It's a form of 2 against 3, I think, and kinda makes sense with the 2 against 3 divisions between the marimba and clarinet/sax.
	The 4th beat of m. 58 introduces a change much like that immediately above, only here the marimba chord sequence is doubled a diminished 5th above the original chord sequence:
 
Gb   Fb   Gb   Ab
C     Bb   C      D
 
Again, another rhythmic change occurs, now moving back to compound division, adopting the compound equivalent of the two beat rhythmic pattern described above. 
	The piece concludes with a variation on the opening phrase, and now I'm finally finished talking. Thanks!

dublemons