Forgive the technicality of what I'm about to write, but hopefully it will be clearish.
Basically the first thing I did with the concerto was to decide on two contrasting pitch groups. There are 12 pitches in an octave, so 2 groups of 6 were chosen. At some point before starting the other movements, I decided I needed some kind of large-scale pitch organization; I decided that with 4 movements, there should be 4 equal distances between the movements - therefore (12/4=3) I would transpose the pitch sets up 3 semi-tones with each movement.
Recently, I decided that I wanted to quote a famous piano concerto, and which better than the Tchaikovsky Piano Concerto! I've been meaning to get the score from the library, but haven't gotten around to it; today I realized that I have a copy on my computer. The part I want to quote is in D-flat major.
The part I want to quote ties into the opening theme of my concerto - while it is not tonal, it fits close enough to an E-major scheme. The quotation will happen in the fourth movement...
Movement 1 - E Major
Movement 2 - G Major
Movement 3 - B-flat Major
Movement 4 - can you guess...?!?
D-flat Major! It must be a sign from the gods!
In another way, that feels more directly connected to me, I feel that the material of my concerto is bringing itself together. I gave myself the challenge of using as few materials as possible for this concerto:
-2 pitch collections, each with a theme attached
-the rhythm and contour of the text and the structure of the poem.
That's basically it - all the musical material in it has been created using only those little seedlings. I was prepared to and really thought that I was going to need to add things in and create new material left and right, but so far I haven't. This quotation will be the first 'new' material, and even at that, it fits one of the pitch groups!
Ok, now to do the opposite - dinner, where I will take many many ingredients and turn them into some clump of dinner that tastes rather unexciting!
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