This page was last edited on 10/07/06
This page was last edited on 10/07/06
Minimalism
I wanted to explain how to compose a piece of minimal music, so I had a go! I could only afford to spend one evening on this project (in April 2005) so the piece is not complete in that it lacks dynamics and so on. However, it was the process I wanted to establish.
BRIEF
To compose an example of a minimal GCSE composition for the internet. The music could be used for a scene in a science fiction TV programme when crew from one ship 'beam' over to another, deserted ship which they investigate; they are excited but not scared; they find some information which helps them on their voyage and the scene ends without a major incident.
WHAT I DID
First of all, I worked out an interesting chord progression; I did not want it to be too dissonant or too concordant (and therefore bland). My intention is that the minimal piece will be constructed from ostinati which are formed from, or around, the chords of this progression, which has a sort of melodic content too even though I may not use that. This resulting composition was likely to be in an extended Binary form AA' although it actually turned out to be in more than two sections; or it sound as if it is. Hear the chord progression.
Next I selected the following timbres during the Finale set-up procedure: Vibraphone, Celesta, Harp, Electric Guitar, Synthesizer, Bass Clarinet, Handbells. I wanted the piece to sound 'resonant' and bell like. The visitors were going to find a "Marie Celeste" deserted-ship-situation, albeit in space, so I wanted to conjure up a faint echo of a ship's bell "ringing in the breeze" despite the lack of a crew.
I decided that there were too many instruments and I deleted the Electric Guitar and the Handbells. Finale had provided 2 staves for the 1st two instruments and I did not want to scroll as I was composing so I deleted the lower stave in each case; I knew I would only need one stave.
I then wrote a short ostinato pattern for the vibraphone using some of the notes from the first chord (the chords show the harmony I want, not the exact pitches I intended to use).
The ostinato I made up for the Celesta could have been in 5/8 time [with the quaver pulse the same as in the 4/4 of the piece] but I have notated it in 4/4 for various reasons. As this ostinato goes out of phase with the 4/4 it is a repeating 5 bar pattern.
I copied and pasted these ideas for several bars.
I made up harp, synthesizer and bass clarinet ideas which I also copied and pasted into the piece. The harp idea is really a bar of 3/2.
I knew I wanted the music to 'evolve' and that simply repeating ideas was not good enough. I changed the vibraphone idea (bar 11) and the harp idea changes from bar 13. Finally I made the synthesizer part more interesting. [I found the Pad the programme has set up was too lacking in attack, so I changed the sound to Pad 6 metallic.] The music is still based upon chord 1 of my pattern.
I wanted to move to the 2nd chord and I set about doing this gradually from Bar 26. I composed syncopated ideas for the synthesiser and the Celesta. I cut off the 1st bar of the harp ostinato and repeated it. I kept the same Bass Clarinet ostinato rhythm, but I changed the notes in the 1st bar to suit the new chord; the 2nd bar (G & C) was OK. I continued to create material which would change to the new chord, retaining what I could from what had gone before.
From bar 62 I wanted to work up to the arrival of the 4th chord which is the half-way point of my progression. I tried to introduce a sense of urgency into the music with the rhythms and a quasi "Jaws" motif in the bass. When the 4th chord arrived I decided to change time signature (end the key signature for ease of notation)
I then had to dovetail the remaining bars of ¾ into the return of the opening, which I thought ought to be re-scored and not entirely the same.
As I worked towards the end I adapted earlier material as there is no sense in inventing more and more ideas. The piece ends much as it began.
As a piece of incidental music, some parts of the piece are more atmospheric than others. I like the change to triple time and I am pleased with the instruments I have chosen (at least on MY sound card!)
I devoted an evening to this project and it will take another evening to upload it to my website. Consequently I rushed the composition, but as an demonstration of how a minimal piece can be constructed it serves its purpose. The texture may be too full for too much of the time and the phasing is better in some places than in others.
I did not add dynamics to this piece but it ought to have them. A basic plan of a quiet start and finish and a swell towards the middle could work.
