#supporting documentation cmd

0:00 - 0:31 (Intro 3/8) 0:31 - 1:45 (Waltz 3/4) 1:45 - 2:40 (Piano Solo 1 4/4) 2:40 - 3:27 (Vibraphone Solo 4/4) 3:27 - 3:53 (Unison Section 1 4/4) 3:53 - 4:20 (Piano Solo 2 4/4) 4:20 - 5:00 (Unison Section 2 3/4 + 4/4 simultaneously)  5:00 - 5:40 (Piano Solo 3 3/4) 5:40 - 6:07 (Hip-hop / Jazz 4/4) 6:07 - 6:34 (Double Speed 4/4) 6:34 - 7:44 (First fade 7/4) 7:44 - 8:26 (Dissonant Piano melody 3/4) 8:26 - 8:53 (Diminuendo 12/8) 

The structure in the composition is mainly defined by new time signatures and melodic ideas. When the time signature changes this is usually followed by the addition or subtraction of a musical instrument from the ongoing texture to allow new ideas to explored within the piece.

   "Of course, we need not to be told what we are going to hear. An experienced listener can place a work as to form and style on the basis of musical clues, such as harmony, melody, texture, instrumental style, and the like." (Meyer, 1961, p.59)

Using appropriate signposts during the piece and melody, texture and harmony the listener can understand the compositions intentions without too much on what to listen out for which would arguably make a more pleasurable listening experience.

The composition begins and ends with similar sections where the only instruments played are the piano, synthesised wind and tubular bell. The motive behind this was to have a strong contrast between how the piece starts and ends to sections found within the middle of the piece. The introduction was composed to create a tension subtly with the piano playing chords at the beginning while using a gradual crescendo to enter into the next section. The ending uses similar techniques to bring the piece to a close by using a diminuendo and more dissonance in the piano part to create a different kind of eerie tension.

After the introduction the main motif is played on the marimba as the tension is resolved by changing the time signature to 3/4 and beginning the waltz section. This section was composed so the listener could be introduced to the lead melody and chord progression. Once the new idea was established the more instruments were added supporting to the accompaniment and adding counter melody to maintain interest.

During the transition from 3/4 to 4/4 more unstable elements are added as well as jazz elements such as syncopation and passing notes. This then leads into a preliminary section where there is a thinner texture to contrast with only piano and double bass playing crotchets and a minimal piano solo on top. This then built up tension for a more dramatic and elaborate marimba solo. 

The section that follows presents a complete contrast where the same instruments play syncopated phrases in unison. This was done to contrast textures while adding new ideas which led to more unison into the section where 3/4 and 4/4 are used simultaneously. 4/4 is used in conjunction with a stylistic change of playing in the drum parts suit hip-hop. This was done to allow the composition to grow further while showing the link between hip-hop and jazz which is shown by artists such as Soweto Kinch. To help bring the piece to a climax the section is repeated but in double speed to add further tension and lead into the penultimate section which is in 7/4.

7/4 is used to help the piece enter new section because it is only one of two irregular time signatures used in the piece. With no clear melody it brings the attention of the listener the overall texture. The texture builds and then dies down with a rallentando in preparation for the outro creating a more solemn tone the ending of the piece.

Bibliography

Stability and instability is used constantly throughout the piece as a compositional tool through two main methods. The first is to help create flow throughout the composition, this is done by primarily using stability to reinforce motifs and instability to introduce new ideas and sections to develop the composition. Repetition of unstable ideas leads to the idea becoming more stable because the listener becoming more use to the idea being conveyed. This is shown at 4:20 where the modulation of key becomes less and less alien to the listener and there becomes more comfortable and stable. This idea was also introduced when the time signature changed to 7/4 at 6:34 where it becomes more stable as time goes on. Change of stability is important to develop the compositional because it is a tool to create contrast in the composition. The composition attempts to tell a story so the change of stability also contributes to the narrative of the piece. 

The idea of using leitmotif was a method of introducing stability throughout the piece by using it to show a musical idea evolving through different genres and instrumentation. This was done so that as much as the composition changes texturally, timbrally and in tonality it still relates to earlier ideas previously explored. Also the idea of repetition allows the listener to be comfortable so that in contrast when less repetition is used it is more dramatic and exciting. Stability is also implemented in the accompaniment as well as the melody through chord progressions. This is done by all sections beginning with the D or the chord D minor and ending with the chord A7 or C#dim7. Maintaining similar chord progression also allowed the introducing of new instruments and ideas to blend better with existing texture while allowing the composition to develop for example at 6:07 where the tempo seems to double.

Instability is demonstrated through constant change of time signature and use of irregular time signatures. This was implemented to keep the listener anxious that a new musical idea will be explored as well as signposting new sections. Constant modulation of key signature is also a tool used to create instability in the composition by creating uncertainty. Moments where suspense is used created like 1:46 are unstable for the listener because when the listener is unsure what is coming next it is easier to manipulate their emotions through the creating different moods or atmospheres. Changing textures also can also throw the listener off making it more unstable, this is shown by the introduction of jazz after the waltz section so new timbres needed to be introduced subtly to create some moments of instability while not undermining the section that preceded it which was stable. Instability is caused by tonality during the ending where more dissonance is added creating an even more eerie atmosphere at 7:45. Comparing the consonance at the beginning to the dissonance at the end helps show the development of the composition as discussed by Cope (1997)

Bibliography

The original plan for the composition was to have the ability to perform it live while being true to the original composition. The composition features mainly acoustic instruments such as piano, double bass, glockenspiel and vibraphone. The original idea was to transition from orchestral instruments into traditional jazz instrumentation. Plans to record an alto saxophone needed to be changed because it didn't matched the timbre of previously sequenced MIDI tracks. To rectify this a new lead instrument need to be so a decision was made to use mainly mallet instruments such as a glockenspiel, xylophone and vibraphone. This cause a large timbral change to the overall composition which allowed it to sound eerie while resembling the sound of a lullaby in certain parts.The new timbral change was kept because it helped the compostion develop as a narrative. Making the composition suitable for live performance limited the involvement of audio manipulation and certain field recordings. Alternative means were used to prevent this by using spacial and time based effects on instruments as well as filter pink noise to recreate the sound of wind. This aided the development of creating atmosphere and transitioning through different sections in the composition.

Reverb was used as an insert effect on the tubular bell to help create a sense of eeriness and melancholy. Using reverb also helped to allow the bell to sit better in the mix but the reverb tail also enhanced the desired effect because although it is a single note it's reverb tail is sustained and added to the texture. In addition envelope filtering was used to reduce attack and increase the release time so the tubular was less recognizable and therefore added to the mystery being conveyed by the piano and wind. Send reverb was automated in instruments featured in the introduction and outro to create the contrast between the middle jazz section. Delay was used as an insert effect on the xylophone to create more sonic variety among the mallet instruments. The delay used was synchronized to delay the signal to play triplet notes. With the feedback set appropriately this allowed a simple melodic phrases to sound more advanced and complex which help fill gaps in melody and accompaniment.

Articulation is used in musical phrases to help inform the listener to what is composed melody and what is improvisation. It is also used to structure solos as well as melodies so the listener interested and allowing the composition to develop. Articulation is used across the texture to create musical phrases where instruments are in unison and where to help link melody with counter-melody in the piece. Melodies in improvisation which lack structure and phrasing can be quite negative in a composition. Wigram states:

   "In clinical work, clients present who create melody, but the way they play might represent aspects of their own pathological problem. For example, a client will create a melody which has no sense of direction and which just rambles from one note to another without any phrasing or structure." (Wigram, 2004, p.61)

Contrast is key in the composition so that new ideas can be explored and the composition isn't too repetitive. Flow and break is used to create contrast in these sections. Sections were the composition flow there is a strong and prominent which takes the lead, to contrast between breaks there is a change of meter and melody is less prominent. To build climax in the piece dynamics are used to contrast between more quite sections to give the impression that climactic moments are more louder than they are perceived. Throughout the piece there is a balance between foreground and background which changes to highlight different parts of the composition. During the the climax of the piece at 6:20 more instruments are pushed to the foreground to compete for the listeners attention. This increase of chaos is emphasized by rhythmic diminution at 6:07 which effectively doubles the tempo rapidly without the need for an accelarando.

During the composition there are signposts which the piece try to reach, these are moments where the composition reaches new sections and change time signatures.  After these signposts there is a continuation of melody or a build up of suspense. An example of this is at 1:44 the note D is repeated on piano and double bass, this builds up anticipation for the pending piano solo so when the solo begins the mystery and suspension is resolved. Suspense is also built up at 3:27 where for the first time instruments are playing in unison. These parts are syncopated and have large gaps only filled my a minimal drum beat, the result of this is that the listener is constantly anticipating the next note because they are unsure when it is. Progression is build towards the end of the piece where the melody becomes more and more dissonant. At 7:45 this is demonstrated by the solo piano by replicating the eerie atmosphere that was created at the beginning of the piece. Throughout the gradual and sudden transitions through the piece momentum is maintained by the rhythm section. This is done mainly through the double bass using a walking bass technique through the jazz sections and the drum beat being a constant feature throughout jazz sections. This is important because without it the piece loses continuity and flow which would distract the listener.

Bibliography