Monday 18 March 2013

Project 10: A Contrapuntual Trial


I found writing three melodies to be the easy part of this project. However, ensuring those melodies worked well together to create an overall effect was more of a challenge. 
I started by choosing my key, which was F minor, and using the first inversion of the F minor chord.  I then plotted a ‘middle point’ of the triad of Bb minor.   The end triad is another inversion of the F minor chord, but this time using C as the base note. 
When composing the melodic lines, it was actually a conversation that I overheard whilst composing that gave me my inspiration.  I chose to write each line to reflect the common problem of people speaking over each other in conversation, using dynamics to reflect the rise in volume that each person adopts when try to make their point heard.  I picked an ‘aim note’ of one of the notes in each structural triads used (Fm-Bbm-Fm) and then just let my imagination run free, using a variety of note lengths and slurred sections to create the end effect.
The most interesting thing that I think this piece achieves is the staggered effect of the triad formation.  At my intended moments, the melody converges to the middle and end triads, but the notes that achieve this harmony begin at different moments preceding the tonal climax. 

Listening to and researching the effects of polyphony and counterpoint there has often been mention of the ‘magical’ potential of these methods.  Therefore, I wanted to experiment with translating this composition into a literal ‘magical’ piece.  As such I have changed the instrument from voice to harp, glockenspiel and piano and have transposed some of the lines by an octave to add a more harmonic effect.  I also added a percussion line of a triangle to give a background rhythm with a magical feel.  
I think the effect of this piece works really well and displays the simple yet complex nature of counterpoint and polyphony.  

No comments:

Post a Comment