Circular Variationson"M. C. J. A. F. P. "
for flute & mandolin[5:00]SUBJECT
This work has six themes, each derived from its corresponding portion of
the six-element name below. Each theme's pitch classes were specified
by mapping its name-part's characters to the musical alphabet loop,
leaving accidentals to be introduced via the music-generative process.
Their octave registrations and initial durations were then intuitively set.
M I C H A E L C H R I S T I A N J O H N A R N O F R A N C I S P E S T E L
f b c a a e e c a d b e f b a g c a a g a d g a f d a g c b e b e e f e e
COMPOSITION
As in my Variations on a Name, the themes are varied by incremental
axial rotation of their (X=time/Y=pitch) coordinates. The earlier work
treated its multipart name as a single unit, with ensuing complications
as its subnames intermingled. The present work instead rotates its name
parts separately, throwing into relief the underlying generation.
The axial rotation is anticlockwise in 15-degree increments (see below).
| 0 | 15 | 30 | Albeit incrementally realized, the rotation is
There are 24 of these per movement, yielding as many bars of music.
| 45 | 60 | 75 | essentially continuous, evolving input toward
| 90 | 105 | 120 | and from its retro-inversion at 180 degrees.
| 135 | 150 | 165 | Throughout the process, functions R and I
| 180 | 195 | 210 | act only together as RI, never independently.
| 225 | 240 | 255 |
| 270 | 285 | 300 | Time signatures report the total of underlying
| 315 | 330 | 345 | rhythmic units (invisible) per measure.
INSTRUMENTATION
The score is single-staffed with notehead colors flagging pattern details
according to pitch relationships within the bar:
Black: unique
Green: repeating
Red: simultaneous
As rhythm is unmetered - indicating durations only via proportional
horizontal space - coordinating three instruments will be prohibitive.
I suggest optimally a Flute/Mandolin duo, with flute taking Black and
mandolin taking Green and Red; alternatively the whole as a solo
for either organ or piano.
PERFORMANCE
Accidentals: Each applies exactly once (a style Lilypond terms "forget").
Articulation: Default for unslurred notes is detache -- not overly short,
but ending each note, including a slur's last, before the next begins.
Repeated notes (Green) are to be held until the next in their group.
Final bars: Each movement is to end with a repeat of its first measure.
Comment: Slurs are over/under positioned to reflect in mutual RIs.
Programming: As texture throughout the work is virtually consistent,
I suggest that its movements be performed, not all together, but in
a selection of one to three at players' choice and ordering.