CORRELATIONS BETWEEN MY CD "COMPOSITIONAL IMPROVISATIONS™ FROM THE "MYSTERIA", AND "COMPOSITIONAL IMPROVISATIONS VOL I: WATER":
Because these are improvisations, the use of the motives in the templates is to some extent arbitrary, as choices were made "in the moment" of improvisation--which is one of the most important aspects of the templates, one that can bring tremendous spontaneity to a performance. Other motives not in this template are used in the course of these improvisations as well, some of which may appear in future templates.
The motives are often in a different key from the template on the CD, and reflect earlier versions of the template when the motives were often presented in different keys. You will also notice that many of …show more content…
Various prominent cells of the motive are articulated, particularly the interval of the major 3rd, which is passed around in various registers. At 2:19 a cell of the motive is used as an accompaniment figure in the L.H. At 3:35 the fuller melody returns in several tessituras. At 3:56 a small apotheosis of the theme occurs. At 6:23 a key change signals a more straightforward return of the entire melody, which soon fragments again. An unexpected entrance occurs at 8:12, where the motive makes a brief entrance, followed by further fragmentation. At 8:42 a melodic cell becomes an octotonic accompaniment pattern in the R.H., accompanying the motive in the L.H. Hints of the motive return around 11:23; then those hints solidify into clearer statements around 11:37, culminating in a full recap of the theme at …show more content…
A belated partial entrance occurs at 5:50; at 6:34 the first half of the theme appears; at 6:42 the second half. An octotonic take begins at 7:04; and finally at 7:15 comes perhaps the first full statement of the theme, still in the octotonic. At 7:52 another partial entrance occurs. At 9:40 a heavily embellished version of the theme enters; then at 10:07 a quieter and more complete version is truncated by a short staccato burst. At 10:21, 10:26, 10:29, short entrances occur; then, at 10:39 a more measured and thoughtful full entrance takes place, followed by partial entrances towards the
Because these are improvisations, the use of the motives in the templates is to some extent arbitrary, as choices were made "in the moment" of improvisation--which is one of the most important aspects of the templates, one that can bring tremendous spontaneity to a performance. Other motives not in this template are used in the course of these improvisations as well, some of which may appear in future templates.
The motives are often in a different key from the template on the CD, and reflect earlier versions of the template when the motives were often presented in different keys. You will also notice that many of …show more content…
Various prominent cells of the motive are articulated, particularly the interval of the major 3rd, which is passed around in various registers. At 2:19 a cell of the motive is used as an accompaniment figure in the L.H. At 3:35 the fuller melody returns in several tessituras. At 3:56 a small apotheosis of the theme occurs. At 6:23 a key change signals a more straightforward return of the entire melody, which soon fragments again. An unexpected entrance occurs at 8:12, where the motive makes a brief entrance, followed by further fragmentation. At 8:42 a melodic cell becomes an octotonic accompaniment pattern in the R.H., accompanying the motive in the L.H. Hints of the motive return around 11:23; then those hints solidify into clearer statements around 11:37, culminating in a full recap of the theme at …show more content…
A belated partial entrance occurs at 5:50; at 6:34 the first half of the theme appears; at 6:42 the second half. An octotonic take begins at 7:04; and finally at 7:15 comes perhaps the first full statement of the theme, still in the octotonic. At 7:52 another partial entrance occurs. At 9:40 a heavily embellished version of the theme enters; then at 10:07 a quieter and more complete version is truncated by a short staccato burst. At 10:21, 10:26, 10:29, short entrances occur; then, at 10:39 a more measured and thoughtful full entrance takes place, followed by partial entrances towards the