These are the five proposed branch snippets of the third development period. Review them carefully and assign them preference points by filling the form. Leave your own snippet the grade 0.
comment: The snippet starts with the last three measures of “Screams”, copied. (I have excluded the vibrato on the high note of the violino, as its function with harmonic pressure in left-hand seems unclear to me). It then proceeds to dwell on the same material, exploring small changes in micro-rhythms, as suggested. But two processes are under way: the “Poco a poco piú mosso” from the end of the original snippet starts a process of temporal anamorphosis, and the material starts to include, in retrograde progression, other materials that had appeared in “Screams”. The temporal anamorphosis has two layers: one is a change of temporal perspectives, which shifts the perception of the beat from quarter, to half (“alla breve”) to dotted half note. Thus, acceleration of BPM is countered by slowing in sensation of pulse (m.34-39). The second is a gradual augmentation of the bars, which, after some oscillation, increase to encompass more and more material (m.43-51). Oscilations of verticalities (inspired by “deforming verticalities: (ir)-regulating”) occur throughout. In measure 51, a new stability is achieved. But instead of engaging in semi-lopes (as had been the procedure until now), the re-integrated materials alternate freely, constructing new, lyrical phrases, in a very strange quasi-waltz. …until something else happens: a loop from ” deforming verticalities: (ir)-regulating” appears out of nowhere “Like, freezing the dramaturgical time” with completely new material. How we will get out of this loop is anyone’s guess.
comment: I tried to extend the dramaturgical flow of the snippet “screams” by partnering between granular noisy material and articulative percussive pizz. and wood-clock attacks. Additionally, I tried to introduce -AGAIN – the concept of “deforming regularities” and the concept of “morphing” and altering and diversifying the embedded temporalities of the material. By “embedded temporalities” I define the duration of the articulated material as a gesture or sonic object; for example the pizz. attacks or the durations of the granular bowing on the cello and bass. My goal was to “scrub” on the material that we have all established and propose new dramaturgical extensions.
comment: This snippet develops the last material from “screams” as suggested in the selected reflection. The noise is stretched and transformed in each iteration. It gets longer and slower in order to explore is granularity. At the same time, the pizz-gliss introduces a legno battuto gliss that culminates at the end in the col legno battuto cascade at the end as it was suggested as a possible continuation for “screams”.
comment: Trying to respect the reflexion 4, I work extensively with the glissando as col legno battuto or arco, that was only hinted at in the previous sections. I tried to avoid having all the instruments play all the time, thus the violin got (a rather short, but nevertheless) a prologed spot light. Furthermore, I was working to get more unity from the previously exposed materials, that goes beyond simply exposing them. Also, I tried to work with the sentiment of frozen time, when all the descending wood-like sounding knocks keep falling like bits of ashes.
comment: As decided in the reflection 4, I continued the distorted -cluster sound, but added unexpected secco attacks and broke the same tutti rhythm as well. Before bringing glissandos (as suggested) I built a texture with a paradox sound -noise -air sound (like an aftermath) to the noise-distorted cluster. Colegno battuto glissandos in falling movement follow the aftermath till again we arrive to a tutti noise- distorted cluster. (I am not sure, if instead of the colgeno battuto glissandos, just falling glissandos would have been better …. Maybe …)