(a) Identify the climax points throughout the piece with the use of bar numbers, and tell Miss Huang how they are achieved using what Dr Kelly Tang has taught us (i.e. diminution of rhythm, thickening of texture, muted strings -> bowed strings, addition of the lower brasses (register)) things like that.

1. From bar 17 to the first quaver beat of bar 20.

It is achieved through the effect from barely a few instruments playing at the same time leading to the tutti at bar 17. In addition, the gradual increase of dynamics (crescendo) starting from bar 17 to the first crotchet beat of bar 19 as p to f, and from which continues to have a crescendo all the way to the first quaver beat of bar 20. The sound effects from the whole orchestra that is experience a crescendo builds up tension that in turn, becomes a brief yet distinct climax point. At bar 17, the motif for the climax [as seen from bar 17 of the oboes] is first played by the oboes and the clarinets an octave apart from each, and proceeding from that bar, the motif is then played by yet more instruments with a wider range of registers from the orchestra, from bars 18 to the last quaver beat of bar 20, by the oboes, clarinets and the violin ones. Also, throughout the climax point span, the violin twos, violas and cellos repeatedly play tremolos as the bass line of the climax, thus contributing further in building the tension with the crescendo as the climax.

2. From bar 24 to the first crotchet beat of bar 25

The main melody held by the flutes consisting of the triplet rhythm that ascends in terms of pitch as well as the crescendo is one factor that contributed to the building climax, as well as the bowed strings (arco) that are also doing a crescendo. The brief climax point ends off with an interrupted cadence.

3. From bar 37 to bar 50.

One of the aspects as to building a climax in these bars are that there are crescendos throughout, that soften once more and then go back to a crescendo. For example, there is a crescendo starting from bar 39, which softens to an mf then a p at bars 41 to 43, and back to a crescendo at bar 43. Additionally, there are imitation of melody lines that contributes to the climax due to the melody repetition, like at bar 43, the violin ones and twos imitate the melody of the flutes from bar 42; and at bar 45, the violin ones and twos imitate the melody of the oboes from bar 44. At bar 39, the strings overpower the first oboe melody, which may be Debussy’s inclination that the next melody line would be played by the strings section and true enough, at the next bar [bar 40], the violin ones and violin twos play the melody an octave apart bowed [arco]. Furthermore, there is the thickening of texture with the gradual addition of other instruments, starting from bar 37 when the solo oboe plays a passage and then in bar 39, the clarinets, cor anglais and the horns come in, thickening the once thin texture. After the climax, music dies down progressively with dimuendo.

4. From bar 63 to bar 71

At this climax point, the strings holds the melody line above the tutti, and goes on a crescendo from pp, causing a swelling effect that contributes to the climax. The registers of all the instruments at this particular climax point are all relatively high, especially the bassoon in bar 63, and the registers gradually increase at the span of the bars. Towards the end of that climax from bar 69, there is the most obvious crescendo of that passage from tutti, that goes up to an ff, and then decreases in dynamics to an f.

(b) identify possible factors contributing to static moments in the piece (USE BAR NUMBERS) e.g. use of pedal point, repetition of motifs, etc

The possible factors contributing to static moments in the piece can vary quite differently. For example, one factor could be that there are very little instruments playing at that time and at a soft dynamic. One example of this is the starting of this piece at bar 1 to 2, where only the flute is playing and in a p, as there is only on melody line moving slowly and softly. Other than that, there can be a few instruments playing together yet still be static, like at bar 4 when the harp comes in with a glissando and the oboes, clarinets and horns play a chord in bar 4, the music still sounds static due to the limited movement of the melody. Static moments does not mean only one instrument playing only, it can also refer to many instruments playing but with a stagnant movement.

hahaha im done =) sorry for the ultimate lateness

hellozxzx

haha this is shoujin and this is my composition called, "Witches' Ritual".

happy hols everyone!

note

Ms Huang, I've posted my compo under draft cos of some uh, difficulties.

Yup can go view there for it.

audrina's analysis

Climax point 1:
Bar 18-19

At bar 18, the first violins make their first entrance and in contrast to the earlier bars, where there is a solo line, the orchestra now states the theme together (doubling) and hence giving it a thick texture. Earlier on, the strings section have been doing tremelos, which builds up the tension with (sur la touche) which means to play the bow nearer to the fingerboard which produces a softer and mellower sound. During the climax, (position nat.) back to the natural position of the bow, makes the strings section sound louder and harsher. Unlike before, where mostly, there were long notes (e.g.minims) then running chromatic notes, this time, there are moving quavers. There is also a repetition of G# B C# and each time louder than before, building up to the climax. There is an obvious increase in dynamic for the first time.

Climax point 2:
Bars 40-48

In bar 40, the horns are being unmuted, violin ones are bowing instead of plucking and there is a crescendo contributing to an increase in dynamic. The register is also very high with the highest note being F# from violin 1. There is also imitation between flute 1 and violin 1 and in the sequence, there is Aflat and Bflat changing the key. There are also running semiquavers, which are shorter than the previous climax’s quavers.

Climax 3:
Bars 63-70
From bars 63 to 72, the melody is played by strings section excluding the double bass. The registers are going up for the woodwinds and especially the harps. The texture here is especially thick. In bar 70, almost all the sections are moving in an upward motion. There is also an increase in dynamic the loudest being ff which is also the loudest in the whole overture.

audrina's reflections

Composition reflection

Before I attended the composition master by Dr Kelly Tang, I had little or no idea how to compose something like how to come up with a theme, how to make my composition interesting so on and so forth.


The sleeping composition was more difficult to me as I had to compose according to something given. Initially I had no idea how to put that scene in my head into music, onto the score. Many times, I would come up with an idea, but when I listen to it after some time, I start to think, this is not the way it’s supposed to sound and I would redo the whole thing again. Although the Sleeping composition was not meant to be too long, I had a hard time trying to depict myself falling asleep hence I felt that it was more difficult than the whole tone composition.


On the other hand, the whole tone composition had some rubrics like there must be a whole tone scale somewhere, and cross rhythm, so I played out the whole tone scale, I had this eerie feeling about it. To me, it sounded peaceful yet evil at the same time.
That was why I decided to compose about burglars at night with the whole tone section portraying the darkness of the night.


Other than that, due to the fact that I have been learning how to play the piano for about 2 years and that I have only started paying attention to how important the harmony really is recently, my piano compositions tend to focus more on the melody and the left hand or accompaniment tends to be less interesting.


Personally, I felt that composing something and playing it for others to listen and letting them comment is quite stressful. Other than that, I felt that it helps quite a bit because the suggestions helped me to improve some parts in my composition which I have overlooked.

1st climax (bar 17-20)
The most obvious change is the crescendo. The giant contrast of dynamics from soft to loud together with the thickening of texture and the inclusion of the Cors a pistons accentuates the climax’s presence. The use of lower register instruments such as the double bass and the bassoons tipped off with the strings increasingly strong tremolo introduces an “underwater wave” effect.

2nd climax (bar 40-50)
At bar 40, the strings enter at arco, the violins adapt longer bow strokes. Significant repetition seen through the dialogue between the violins and the clarinet and flute is used to intensify the increase in potency of a climax. A modulation is also seen at bar 43-44. The use of the modulation to a higher register and the use of the lower strings as a bass of unifying crescendos, backed with long bows, gives room for the violins at bar 45 to sing the melody. The horns and bassoons are also effectively used here to accentuate dynamic contrast.

3rd climax (bar 59-62)
The theme is now in the woodwind as it gradually crescendos together with the strings increase in accompaniment. The bassoons climax at bar 61 impresses the climax even more. The Cors a pistons entry at bar 61 further adds a layering in terms of texture and dynamics of the theme. Accompanied by the long legato lines of the violins and the larger range of register with the inclusion of the double bass and bassoons, the theme is very well flavoured into climax.

4th climax (bar 67-72)
At bar 67, the theme transacts down to the strings. The woodwind plays an accompaniment role with a crescendo to the detached appoggiatura motif. The harps increase in frequency of the broken chords as well as the use of two harps here adds to the level of intensity. The thematic material in the strings is very well carried.

Static points

Static points are usually carried forth by short soft lines,with lighter instruments such as the flute and a harp as seen in bar 79-82. Static points could also be easily marked with reference to string instruments. Very soft bowing or tremolos as well as melodic patterns with little range is a sign of static.

Chester's Composition Reflections.

My greatest agony is in sustaining a thematic idea. Given the short length of both my compositions, as well as the impatience I had whilst writing, the themes that form beautifully in my head never fails to slim down to mere spasms of the original idea whilst in transition from brain to paper.

I realise that I lack very much the perfectionist attitude when composing. The inability of being meticulous in writing is thoroughly a sin. Given time and motivation, I would definitely be more engaged in the suckling of the pup of my composition till it weans into maturity.

The first hands-on experience in composition of the “Cat and the bird” was indeed a valuable exposure and experience. With no skill at all at the point of time, my naked approach to this first composition was very much insensitive and lawless.
When lessons came into play, knowledge was beget in me, my consciousness towards matters such as register, dynamics, harmony, rhythm, etc. was very much awakened.

Following which was the whole-tone project. Being clothed in some knowledge and no longer unconscious to the elements of composition, I was able to approach the writing with a far better grasp and understanding and deliberation in the creation of every small detail.

On the issue of positive mutual criticism on peer compositions’, I have no resentment towards it. It is important that opinions of other human beings of inferior, similar or superior intellectual capacity as that of the composer be brought to the composer that he improves in specific areas of suggestions.

ps. do we still post the compositions? how is that possible?

hey this is shoujin and this is my, er, composition reflections. my debussy work will come a bit later cause i just realised that the entire thing got accidentally deleted by my mum >.<

Comparing and contrasting the cat-and-bird composition with the whole-tone work.

In my opinion, the cat-and bird composition was the easier assignment as compared to the whole-tone work. This must be due to the fact that there was a decided scenario for us to think up themes on to compose, and not an open-ended assignment where we would have to identify our own particular scenario or genre before being able to compose something regarding that. Open-ended assignments do give us our own freedom to compose works; however, it is also more difficult in a sense that if we do not have a fixed scenario, our composition may have a chance of being non-comprehensible as a musical piece. In addition, there are many choices regarding this matter of open-endedness and sometimes, it does get hard to make up our minds.

For the cat-and-bird composition, the limitations are that we have to entirely base our composition on the scene of a fight between a cat and a bird for example. If not, the piece would be out of point. However, the instructions given for completing this assignment is more flexible and less restricting compared to the whole-tone work. Therefore once more in this case, the cat-and-bird composition is an easier assignment.

Generally for both assignments, I have encountered more difficulties when trying to complete the whole-tone work. When the melody is formed in my mind, sometimes I would have trouble trying to write that melody out on manuscript paper with the correct note values. For me, the rubrics given like the whole tone scale and the banning of the middle registers are fine, as it only serves as a larger challenge to compose a relatively different piece. Most of the time as well, when I have no inspiration, I find it hard to form a theme or continue from where I had left off, and I would have to spend alot of time trying to form a link between the bars to finally create a decent melody.

As a “fledging young composer”, I find playing my own piece of music for everyone to hear and have everyone comment on it really nerve wrecking, and that it takes quite some courage to play through the piece live. However awkward it can get for me, I think that it is actually a useful thing to do as receiving comments from others serves not to embarrass one, but to improve one’s learning capacity.

Composition Reflections

Composition Reflections

Comparing my two compositions, I would definitely say that doing the scenario composition was a lot easier. This is because having a particular scene helped me to create the mood, the basic storyline and other factors: A sleeping person probably will snore; Miss Huang will come wake him up etc, whereas, for the whole-tone composition, I had to create my own theme, with no guidelines. Sometimes people just run out of ideas…The fact that the middle register couldn’t be used and that it was in whole tone made also made it harder. But I learnt that sometimes, having a rubrics helps in many ways. For example, it helps to justify parts of the piece (why did you use a whole tone scale? Because I had to).
Many times I also had to double-check some other works to see if my performance directions were notated correctly (in most cases they were wrong).

I also didn’t put a lot of technical elements into my compositions as I knew that I wouldn’t be able to play my own work if it were too hard. Luckily there’s Sibelius.
And in all my reflections I never fail to mention that most of my problems are caused by my tendency to procrastinate and leave things to the last moment, so my work always is rushed.


Regarding writing my own music for everyone else to comment on, I think that it is quite cool to finally create something, rather than listening to pieces or learning them. Granted, it is nerve-wrecking to play it in front of everyone else (I think everyone probably feels that way), having so many pairs of eyes stare at you, and to have them be critical about it, but I think that it is the best way to learn something. Like, sometimes you realize that something you put there to create a particular effect ended up making everyone feel the opposite way or something. So yea, it helps. =D

Also, I don’t know how to end off this reflection properly, so, yes, it is indeed interesting to hear everyone’s different take on the same scenario.


p.s. i'm submitting this in early because i'll be in camp from 16th to 21th of December
also, do let me know if there's anything majorly wrong with my work (my theory is very rusty), or if i have to re-do anything.

tata^^

Comments on l'après-midi d'un faune

Debussy: L'après-midi d'une faune Loo Liang Jie

Climax Point 1: Bar 17-20, (1:49-2:07)
Starts off with chromatic line to A-sharp, until the clarinet staccato part.
Achieved by thickening of texture by using octaves (1st violins & oboe), theme also played by clarinets. Use of high register and increase in dynamics also. Strings are bowed normally also.

Climax Point 2: Bar 23-25, (2:31-2:47)
Climax at the high C note (1st note of bar 25), played by the flute.
Achieved by strong dissonant chord on that note: C by flute
(err I’m not very sure about this part.. =D) E, C by clarinet in G
F# by bassoons
G# by French horns
A-C-A-B by strings
Also, by ascending chromatic line in violins (bar 23-24) and crescendo by all the playing instruments to help build up to the climax (strings also play in unison for that part to achieve this).

Climax Point 3: Bar 42-51, (4:22-5.04)
Starts with the question and answer sequence by the flutes & clarinets, and the violins (which play in octaves), then the main theme goes up a semi-tone to start on C, played by the flutes and bassoons. The violins imitate, but in minor. At the end (, there is a chromatic movement by the strings (B-C-Dflat) for 2 bars, which then goes into a tonal motion resolving on the G of the A-flat major-7 chord (Harp and flutes also do some whole-tone scale thingy at bar 50). And of course, with most climaxes, are the strong contrasting dynamics (usually from p to F) and use of wide register, with the main motifs being in the higher regions.
All of these together help to make up the special effect which causes the climax. =D

Climax point 4: Bar 59-63 (5:42-6:00)
Achieved by sudden detached notes after the A in bar 61 (note: all the woodwind play the notes detached), followed by diminution of the rhythm so give a sense of speed. And the register and dynamics are pretty high, I guess…

Climax point 5: Bar 69-72, (0:17-0:35)(of part 2)
Achieved by very thick texture caused by all the strings bowing in unison/octaves (with the exception of the basses). The rest of the instruments play in very high register, especially the harp and the flute. Also, the presence of the ff helps to achieve something very special. It then dies down in texture and volume, drops to a lower register and ends in B-flat minor.





Possible Factors contributing to Static moments

I think that what would probably contribute to the static moments would be having very little change in dynamics. This can be seen from bar 51-54, where everything is just p, so one doesn’t know where all this is going.

Also, when the melody line moves very little, like in bars 1-3, where it just moves in a chromatic line down and up again (the furthest point was the G)(maybe the faun was lazy and wanted to sleep), whereas the harp went from a low A# to a very high G#, so the register goes great distances.

Finally, absence of quick, running notes makes everything seem like nothing’s moving.
From bar 74 to 78, everything seemed to be very still until the harp came in at bar 79, then everything started to become more flowing and moving.