These are four proposed branch snippets of the development period 1-4. Review them carefully and assign them preference points by filling the form. Leave your own snippet the grade 0.

comment: The snippet has two sections: after the first four bars (transcribed form previous “zooming…”, 63-67), the first section (68-75) maintains the material from the previous segment, in false loops. In each repetition, however, the pitch-class material which had been erased in the process of “zooming…” starts to come back, growing in each repetition. In the final measure of this section (57), the pitch-class material completely overrides the other elements, leading into the second part (76 al fine). This half consists exclusively of the material of the pitch-class element, which has metamorphosed from exception into rule. In this part the reduction of material is compensated by  thorough treatment of its defining parameters. These are: (1) overall quantity of change (peaking in 83), (2) range of action, (3) quantity of microtonal deviation, (4) number of voices, (5) duration of frases, (6) speed of composing rhythmic material, and (7) pressure of left hand.  By the end of the snippet the music has reached a very active stability, with parameters oscillating frequently, but in a constant manner. From this “active-stasis”, the music can go anywhere. The next step would be to chose a new target for a new transformation process, which should come from one of the INCUBATION snippets that has not appeared yet — something completely new.

comment: I took the suggestion from the reflection to change “which string instruments lead, and the texture of counterpoint (a duo of cello and bass, for example, could be the starting point of next snippet)”. I also included “repeated measures, loops, which appeared in the initial fragment only once” and tried to give a sense of “simultaneously ‘going away’ and ‘getting stuck'”. You be the judge of how succesful the resulting score is.

comment: I took advantage of the presence of a quasi melodic cell. I articulated a rather organic presentation that emerges from the contribution of all the things. I addition to that, I decided to introduce some kind of unpredictability by inserting “gaps” of sonic silence – not too much sonic activity – alternating if with the organic presentation of “the quasi melodic cell”. My goal is to start pushing the piece towards an organic approach to formal structure.

comment: I have tried to continue the development of the previous snippet in the direction suggested by the selected reflection. I have continued the counterpoint texture now between cello and contrabass. The snippet starts a bar before the end of the previous snippet 66.