These are four 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: I have tried to develop one snippet from the beginning, mixing it as the reflection selected mentioned, and using dialogues between 1 or 2 or 3 instruments.
comment: In this snippet, I developed different materials from previous snippets by connecting them to each other. In this way, a pizzicato becomes the attack of a high undefined pitch, or an undefined high pitch with bow overpressure is connected with the granular bow material though the noisy quality of the bow pressure. At the same time, the pitch material of the violin gets “dirty” through left-hand half pressure and harmonic pressure and bow pressure. In this way, the pitch line gets connected with glissandi and granular bow and its content get undefined. The instrumental density continues the tendency of becoming thinner of the previous snippet. Finally, the glissando is zoomed-in by slowing it down and by playing it together with a glissando of bow position. Possible continuations are 1) continue this development of connecting the different materials and make transformations. 2) go to a less busy texture.
comment: The snippet does pretty much exactly what the reflection describes: if “falling ashes” had thined the texture to one line, the continuation semi-loops segments of the former snippet, increasing to two lines, three, back to two, then a tutti-metamorphosis. Meanwhile, (a) each repetition takes one beat away (either quarter or eight) from one measure of the repeated fragment, and (b) the accompanying punctual interferences gradually diminish. The final tutti reveals how the pitch-based microtonal material that seemed new on the original fragment was, in fact, a derivation from the original high-pitched glissandi. Then comes something else, freezing time.
comment: I want to pursue a deconstruction of contractual interrelationships and present a rather soloistic aspect in the composition. I am envisioning a more soloistic and, why not, more exposed sonic profile for the piece.