Category: Personal

1. Orchestral Study #1 (flowing and hymn-like)
2. Orchestral Study #2 (driving and chaotic)
3. Orchestral Study #3 (adagio with melisma)
4. Orchestral Study #4 (allegro)
5. Orchestral Study #5 (variations)
6. Orchestral Study #6 (space)
7. Orchestral Study #7 (dialogue)
8. Orchestral Study #8 (toccata)
9. Orchestral Study #9 (seven interludes)
10. Orchestral Study #10 (rupture, slowed down and from different angles)
11. Orchestral Study #11 (a crowd, disassembled)
12. Orchestral Study #12 (thesis)

I approached this a little lost after #9 because its abundance of ideas in a way drained my creativity. But then a line in Piston’s Orchestration got me started, from the section “Types of Texture – Type VII, Complex” where he describes how the previous discussed types of texture–unison, melody, counterpoint, chords, etc.–can be combined simultaneously. In detailing examples of the complex type, he described a section of Rite of Spring as a “tapestry of sound.” He then organized the 31 parts in that section (page 9 of the edition he cites) into 11 groups of greater and lesser importance, emphasizing the subjectivity of that grouping and the utility of the exercise for becoming more proficient in orchestration.

I did not go in that direction (and honestly don’t think I’m quite ready).

The intent then became a piece with the structure: complex stacked chords, then melody, then twittering chaos in woodwinds (cf. #2 starting at measure 44). But plans develop as ideas become concrete, and the melody I wrote was completely abandoned, and I adjusted a bit as new ideas developed.

1. Quiet, spare opening statement, percussion
2. A section
   1. Stacked chords, heavy dissonances
   2. Stacked chords, oboe solo with clarinet accompaniment, arrhythmic
3. B section
   1. Stark change, build up from spare silences
   2. The aforementioned “twittering chaos”
4. A section, return
   1. Return to chord progression from #2, quieter, more consonant, and with reduced orchestration
   2. Progressing to white noise and end

I feel like my percussion writing, although using the same timpani/cymbal/triangle (minus snare), has gotten more nuanced since I started using percussion in #8. The twittering chaos is very satisfying to write but takes exhausting focus (“I love having written but hate writing” amirite?). It feels like there are dozens of rules I’ve learned from writing this piece concerning dissonance and instrument combination, but that they are more internalized than they are expressible. It’s also becoming more apparent, from the last couple of pieces, that I’m writing for MIDI orchestra and not orchestra orchestra. That is an issue, without learning the instruments and having actual ears-on sessions, that may be un-fixable.

I’ve thought impressionism and minimalism for next month, but not sure.

Audio Player

1. Orchestral Study #1 (flowing and hymn-like)
2. Orchestral Study #2 (driving and chaotic)
3. Orchestral Study #3 (adagio with melisma)
4. Orchestral Study #4 (allegro)
5. Orchestral Study #5 (variations)
6. Orchestral Study #6 (space)
7. Orchestral Study #7 (dialogue)
8. Orchestral Study #8 (toccata)
9. Orchestral Study #9 (seven interludes)
10. Orchestral Study #10 (rupture, slowed down and from different angles)
11. Orchestral Study #11 (a crowd, disassembled)
12. Orchestral Study #12 (thesis)

I came in with the intent of exploring a more atonal, pointillist style, to move in the direction of Elliott Carter in texture but without the metric modulation. Then after finishing the first statement, I had the idea to use that statement as simply the first of a set of pieces in different styles. Short preludes or interludes. The prime number seven jumped into my head, and the basic ideas for all but #6 were pretty clear from the start.

1. (00:00) Pointillist emphasizing timbre
2. (00:34) Lyric/impressionist, wistful
3. (02:11) Bright percussive
4. (03:53) Driving percussive
5. (05:03) Spare with silences
6. (06:33) Vivace, humoresque
7. (07:41) Descending lines, from plaintive to content

Total time: 11:44

#s 1 and 5 are in an atonal language that I’ve dipped into before and am really loving. Again, I use Carter as the jumping off point.

#2 is where I wish I could write long, romantic melodies. This ends up being a little 70s-movie-music-trite, but still has its moments.

#s 3 and 4 continue with a percussion language I learned in study #8. The percussion parts come very naturally, but I worry that they appear as both a repetition of ideas across the different pieces, and as too chaotic in expression, not complementing the rest of the orchestra.

#6 was a good lesson in sticking with a difficult piece until you find a solution to what’s blocking you. (For study #5 that solution never came, but it was still worth the failure.) In this interlude, I was stuck for a couple of days after the first statement and finally came up with a framework of scales that shift diatonic key every few notes. It gives a nice, non-dissonant atonal hum without being a generic octatonic or whole tone scale.

The concept for #7 was there from the beginning but, as is common, ended up manifesting a wider range of ideas than I expected. The surprise achievement: I approached the noisy beauty of Schnittke that I thought I’d never get to. Really very, very happy with that. (And, surprise! metric modulation made an appearance.)

I ran over time this month just because of the volume of ideas (which really should have been explored more fully on their own), and also because even though I was “finished” about a week ago, several felt jarringly abbreviated so I returned and fleshed them out. I have never regretted revisiting and extending a piece.

Not sure where this goes next. I’m again drawn towards the atonal pointillism of #s 1 and 5 (this is the same intent I had at the end of last month).

Audio Player

1. Orchestral Study #1 (flowing and hymn-like)
2. Orchestral Study #2 (driving and chaotic)
3. Orchestral Study #3 (adagio with melisma)
4. Orchestral Study #4 (allegro)
5. Orchestral Study #5 (variations)
6. Orchestral Study #6 (space)
7. Orchestral Study #7 (dialogue)
8. Orchestral Study #8 (toccata)
9. Orchestral Study #9 (seven interludes)
10. Orchestral Study #10 (rupture, slowed down and from different angles)
11. Orchestral Study #11 (a crowd, disassembled)
12. Orchestral Study #12 (thesis)

Updated 26 Aug 2019

My focus for this piece was to start scoring percussion.

The music has some instances of #6 (mildly dissonant, held clusters) and some of #2 and #4 (fringe-tonal counterpoint with imitation across voices). I’m getting my footing with having a consistent orchestral style though still learning and experimenting.

1. Prelude with dissonance (A1)
2. Rapid polyphony with increasing complexity in the percussion, using timpani, snare, and cymbal (B, C, and D1)
3. Return to A in style, with gradual reentry of polyphony from previous sections as an extended bridge (A2)
4. Chord progression and arpeggiated melody from D1 with written repeats (D2)
5. Short coda with percussion (E)

Once I got the first notes down for the polyphony and percussion, I was surprised how easily those new elements flowed. I had to reference Piston for the limitations of the timpani and the range it can handle, but snare and cymbal pretty much explain themselves. Like the allegro in #4 this was kindof exhausting; there was an inner conflict of how easily it flowed and just how much music I could manage in this style. And, even though I feel it’s relatively complete, the month puts pressure on how much to put in. I’m beginning to think, after these 12 are finished, of the limitations I’ll encounter writing longer, 20+ minute pieces.

Next will likely be a spare, arrhythmic study with further exploration of articulation in the strings. Before that I will go back to #5 to fix a section that I just, just hate.

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Updated 26 Aug 2019

Piston showed the timpani with trills but the playback from Musescore sounded awful so I switched to tremolo. Much better. I also exported the score in four parts (woodwinds, brass, percussion, strings) as wav files and mixed them in Audacity with some reverb and stereo separation.