Entry 3.

So we're off to the races with the next composition. I had more or less expected to be told what to do for this one, or to have some kind of change from the guidelines for the previous composition, but I guess that since the three compositions are linked by being based on the same, basic chord progression, it makes sense that they should share the same guidelines. Despite this, however, my main aim for this composition is for it to be much different than the first, which I was told had a kind ethereal feel to it. That's all well and good, but this next composition I want to be quite a bit different, like it's simply a different movement that shares some of the same motives (in this case, chords) but with a different character.

This time I've got a character in mind before I've even started writing. I'd like for this one to be of a devious nature, much less amiable than the first. The first piece had its moments of tension, but it was still fairly legato in most of its aspects, something I'd like to avoid with this one, which will force the musicians to play with a more attacked approach. I've already been thinking about the third piece, which I'd like to be some kind of dizzying waltz, like a broken record of music box or something, but that's all yet to come.

Just in case you're wondering, I'm composing my piece as I write this, so that I can jot down my ideas and thoughts as I go along. That and writing this gives me a break from thinking about what to write (music-wise) next so it is, in my opinion, a fairly productive way to go about things.

I’ve decided for the piano part and clarinet part to alternate fairly often between harmony and melody. I’ve also figured out by now that in order to best write a piece involving piano, it is best to have a sound knowledge of that instrument. It’s the same way for every instrument, but for someone who’s used to reading only one line, it’s hard to suddenly begin writing at least four. Luckily, I’ve decided on writing for a fairly thin textured sound for this piece, so I don’t have to get too involved in writing the piano part, and worrying about whether it is playable.

I’m happy to say that this piece turned out to be three pages in length, though since it goes faster than my first piece, it’ll probably be even shorter, time wise. Maybe I’m too anxious to begin writing long, involved pieces, but I just don’t feel quite as accomplished when I write something that’s maybe a minute or two long as opposed to something which is at least 5. That’ll come with time, I guess, and maybe a piece with more thematic materiel. These pieces do have snippets of a melody, though they’re a bit too…Scattered to be developed to any great length.

I think this piece will be a great deal easier to sight read- I would be able to sight read this, and my sight reading is abominable to the point of being offensive. In my opinion (though I might be biased) it still has a free feeling, despite the lack of complex rhythms. I’ve decided to juxtapose a series of quick, short thoughts on top of a longer line, which is almost always trilled. In places it kind of sounds like the music that’s played in a movie in which the victim is being stalked by a murderer in their own house…The long notes create tension, which builds up and eases down a fair amount, and the short notes create a sense of dread, as tough the murderer has come around a corner, and is getting closer and closer to the victim. Once again, I’ve created programmatic music unintentionally, though at least this piece has no real end. There is no dying shriek or wail of police sirens…Though those might be added in later if I really feel like it, though it wasn’t my aim to create another piece with a story behind the music. I’ll let the audience be the judge, and they can decide to see what they want to see. I’m done, for now.

Jess.