Composing Today
13/14 February 2007
Today was a fruitful day in terms of planning, if not of actually composing notes. I worked out the second B section with the three decelerandos to quarter = 48. Essentially what I tried to do was figure out sequences that will allow for the three tempo layers to merge. Eventually with some effort I determined sequences such that there could be steady decelerandos among all the layers. This involved determining the mathematical sequences that would yield these. So for the layer of quintuplets, I determined that 12 sixteenths at 72 equals 15 sixteenths at 90. I then needed to figure out a series of durations that totaled would begin with one beat at 90 and slow down to one beat at 24. So if I take 22 measures of 4/4 at 90 this yields me 110 quintuplet quarters, multiplied by four I have 440 quintuplet sixteenths. If I allow each duration to repeat four times before slowing down slightly, which is necessary for audibility, I am able to exact the decelerando over 22 measures. Here’s the math, 4 x 5 means four times five quintuplet sixteenths:
(4 x 5) + (4 x 6) + (4 x 7) + . . . + (4 x 14) + (4 x 15) = 440.
It is necessary to use each duration more than once, or else the longer durations are reached too quickly.
For the layer of triplets (quarter=108), the same amount of time gives me 528 sixteenths. The sequence here is by necessity a bit more complex.
3(4) + 2(5) + 2(6) + . . . + 2(12) + 3(13) + 3(14) + 4(15) + 4(16) + 5(17) + 5(18)
I tried several versions of this and opted for this one because I thought it had the smoothest slowdown. Similar decisions were made for the quarter note layer.
For the layer of quarter notes there is also not as elegant a solution as the quintuplets. 352 sixteenths is the magic number.
6(4) + 5(5) + 5(6) + . . . + 5(11) + 5(12)
My plan now is lay out the scaffolding in a separate document. I can then compose out the harmonies and orchestrate them according to the ensemble change scheme.
The scaffolding is in place it now remains to compose out over it. This will lead into (or be interrupted by) the next ritornello. I’m thinking of doing some sort of a fast lane – slow lane feature for the third B section. Before the triumphant final ritornello.
I’ve also laid out the proportions for the various section lengths.
Carla and I have reservations at a fancy Sushi restaurant on the East Side to try and take in a new level of Sushi experience.
Today was a fruitful day in terms of planning, if not of actually composing notes. I worked out the second B section with the three decelerandos to quarter = 48. Essentially what I tried to do was figure out sequences that will allow for the three tempo layers to merge. Eventually with some effort I determined sequences such that there could be steady decelerandos among all the layers. This involved determining the mathematical sequences that would yield these. So for the layer of quintuplets, I determined that 12 sixteenths at 72 equals 15 sixteenths at 90. I then needed to figure out a series of durations that totaled would begin with one beat at 90 and slow down to one beat at 24. So if I take 22 measures of 4/4 at 90 this yields me 110 quintuplet quarters, multiplied by four I have 440 quintuplet sixteenths. If I allow each duration to repeat four times before slowing down slightly, which is necessary for audibility, I am able to exact the decelerando over 22 measures. Here’s the math, 4 x 5 means four times five quintuplet sixteenths:
(4 x 5) + (4 x 6) + (4 x 7) + . . . + (4 x 14) + (4 x 15) = 440.
It is necessary to use each duration more than once, or else the longer durations are reached too quickly.
For the layer of triplets (quarter=108), the same amount of time gives me 528 sixteenths. The sequence here is by necessity a bit more complex.
3(4) + 2(5) + 2(6) + . . . + 2(12) + 3(13) + 3(14) + 4(15) + 4(16) + 5(17) + 5(18)
I tried several versions of this and opted for this one because I thought it had the smoothest slowdown. Similar decisions were made for the quarter note layer.
For the layer of quarter notes there is also not as elegant a solution as the quintuplets. 352 sixteenths is the magic number.
6(4) + 5(5) + 5(6) + . . . + 5(11) + 5(12)
My plan now is lay out the scaffolding in a separate document. I can then compose out the harmonies and orchestrate them according to the ensemble change scheme.
The scaffolding is in place it now remains to compose out over it. This will lead into (or be interrupted by) the next ritornello. I’m thinking of doing some sort of a fast lane – slow lane feature for the third B section. Before the triumphant final ritornello.
I’ve also laid out the proportions for the various section lengths.
Carla and I have reservations at a fancy Sushi restaurant on the East Side to try and take in a new level of Sushi experience.
Labels: composing
posted by Todd Tarantino at
8:12 PM
<< Home