Assignment 4: Imitative Counterpoint

For this assignment I am looking forward to using the skills I have learned about various transformations in this section.  I plan to begin by writing a simple and short melody for parts A, B and C (detailed below) based around simple chord progressions, which I will use as the ‘core’ of the piece.  I will then apply various transformations and adjustments to create a final composition. 

For this composition,  I want to explore the darker and tense side of the woodwind's character.  To do this, I have chosen to use the Bassoon for its low tones, accompanied by the dark tones of the Timpani played on the bass clef. I also plan to add a line for the snare drum, as I believe the slight sharpness of the snare’s tones will fit within this piece well.  As I am planning to explore tension, I will be using a variety of interval changes, focusing around the more dissonant tones of the fourth or diminished fifth.

Unlike my previous compositions, I have not chosen to theme this piece or even give it a title at this stage.  As I see this assignment as an experimentation of the use of transformations I expect the theme and nature of the music to become apparent throughout the process.

The draft plan for this piece is shown below:

Part A Principal Section (i)	Part B Principal Section (ii)	Part C Subsidiary Section	Part A Principal Reprise (i)	Part B Principal Reprise (ii)	Part A +D Principal Reprise & End
bpm = 66 4/4 16 bars	bpm = 96 4/4 16 bars	bpm = 130 4/4 8 bars	bpm = 160 4/4 16 bars	bpm = 66 4/4 16 bars	bpm = 66 4/4 8 bars

  

As a core concept for this piece, I have composed three simple and short melodic lines for both instruments, named A, B & C.  These short tunes will form the central idea of the piece, to which transformations will be added for elongation and textural purposes. 

Despite all three sections being composed using a piano, thus set on treble and bass clef, and playing as one coherent piece, they are all designed to be separate sections within themselves and I plan to transpose and invert these sections to change their overall feel within the piece. 

Each bar of the melody is a very simple pattern based on one of the triads found in the original key.  I have then used a variety of note durations within each bar to create a harmonic effect.