Diagrammatic Sketches - Part 1

In a previous post I talked about how I was able to organize my musical thoughts by creating a diagrammatic sketch.  For me these sketches can take on a variety of forms.  I have done sketches that focus on shapes, rhythmic and melodic fragments or even colors.  One aspect that makes these sketches different from sketch scores or other types of sketches is that they are done primarily away from staff paper.

I believe that the best way for me to explain these sketches is through examples.  I plan on covering diagrammatic sketches in a series of postings, each one focusing on a different type of sketch.  I do not favor any one style of diagrammatic sketch over another.  When needed, I tend to go with whichever type of sketch I feel best suits my needs.

In this first part I will discuss my most recent sketch.  This sketch falls into the rhythmic category.  I have included a scan of this sketch (see below, click for larger image).  As you can see this sketch was done on binder paper.  Please note that the blue lines from the paper mean nothing.  I would have done the same sketch on a blank sheet of paper, this was just what I had at the time.

Before beginning this sketch I had decided that repetition would play a key role in this section.  This is why I was able to illustrate my ideas by creating a rhythm and then drawing a line extending from it showing the repetition.  In this diagrammatic sketch the first thing I notated was the long tones in the upper woodwinds (top left).  The measured and tied whole notes after the arrows illustrates my thoughts on the rhythm and chord progression for these long tones.

Underneath the long tones I began to add layers of rhythms.  The horizontal space that separates the layers is not proportional.  This is really a quick version of this type of diagrammatic sketch.  If I were to create this sketch in its entirety as a pre-compositional device, then I would have taken steps to indicate relative time.  I have made more "complete" sketches where time and linear space is proportional.  Essentially I was using this sketch as a method of organizing my thoughts.  More often than not, when I do diagrammatic sketches they are done as a pre-compositional device.  I will provide examples of this in a future post.

I like creating these types of sketches because they allow me to easily organize my musical thoughts without putting them into too many words.  I am also able to plot out generally where events start or stop and how events line up without sketching out all of the measures.  These sketches can give me the ability to see the overall shape of the piece before it is finished.

Listening Journal: March 21-28, 2010

Karlheinz Stockhausen - Kreuzspiel (1951) for oboe, bass clarinet, piano and four percussionists

Boston Symphony Orchestra - March 13, 2010 concert recording - first half

   Isaac Albeniz - Three Pieces - orchestrated by Rafael de Bergos

   Sergei Prokofiev - Violin Concerto No. 1, op. 19 (1917) - Hilary Hahn, violin

Pascal Dusapin - Reverso (2006) for orchestra

Elusive Ideas

Sometimes I feel as if good ideas tend to evade me.  This is definitely how I felt this past week.  Last Sunday (3/21) and throughout the week I have tried to sketch ideas for the B section of Night Sky.  I did not like about 90 percent of these ideas.  Sure, some of them were good on their own, but most did not seem to fit the piece I have been working on.

I tool a step back and I thought about some of the element I wanted to include.  I made a list of those elements and I started a diagrammatic sketch of the B section.  A quick definition of a diagrammatic sketch is a sketch of a series of shapes, rhythms or even colors used to represent the music to be composed.  These sketches can take different forms, but one important element is that they are done away from staff paper and musical instruments.  I will take the time to provide examples and a better description in a future post.

This sketch has been a big help in formulating ideas for the B section.  I have been able to move ahead and workout the first half of this section.  Sometimes all it takes to get going again is to step back a moment and organize your thoughts.

Listening Journal: March 15-21, 2010

Reed Holmes - Around the Waves for quadraphonic tape
György Ligeti - Carnegie Hall Concert - January 31, 2009
   Melodien (1971) for orchestra
   Cello Concerto (1966)
   Sippal, dobbal, nadihegeduvel (2000) for low mezzo soprano and four percussionists

Listening Journal: March 8-14, 2010

Louis Spohr - Violin Concerto No. 8 in A minor, op. 47 (1816) - Hilary Hahn, violin
Carlos Chavez - Trombone Concerto (1977) - Christian Lindberg, trombone
Wolfgang Amadeus Mozart - Sonata in E minor (1778) for violin and piano - Hilary Hahn, violin and Natalie Zhu, piano
Kaija Saariaho - Monkey Fingers, Velvet Hand (1991) for piano
Karlheinz Stockhausen - Klavierstüke, Volume 2: Piece 9 (1956) for piano
Richard Strauss - Till Eulenspiegel's Merry Pranks, op. 28 (1895) for orchestra
Richard Strauss - Don Juan, op. 20 (1889) for orchestra

A Different Approach?

Normally when I compose I like to write out the score by hand before entering it into Finale.  I have been thinking about my approach to orchestrating Night Sky.  I am considering orchestrating this piece into Finale.  If I choose to do so, then I will have a complete sketch score of four to five staves written out before going to the computer.  I believe that the primary reason for this is the size of the ensemble.  With this type of group I would only be able to fit six to eight measures per page.  This would amount to many pages of sketches and I do not know if it is worth it.  It is for this reason that I will most likely orchestrate into Finale.

Challenge Results

As I have chronicled I challenged myself to complete the sketch of the A section of Night Sky this past weekend.  I was unable  to complete this sketch, but I have outlined most of this section.  So it is only a matter of developing a secondary melody and writing out the rest of the sketch which I have outlined.  I would say that this section is about 90% complete.  While I fell short of my goal for this challenge, I am happy with my output.  I was able to work out a lot of ideas I have for this piece.  When finished, the A section will be around three minutes and forty-five seconds.  This is a little more than my target time, but only by fifteen to twenty seconds.

A First Look at "Night Sky"

Here is the first page of the sketch score for Night Sky. (Click on image for larger view)  The sketch includes the first 18 measures of the piece.  The piece is being written for concert band and I have not yet begun to orchestrate the piece.  I do have ideas of what instruments I would like to play what lines, but I will make those decisions later.  This page includes most of the thematic material that I will incorporate in the A sections of Night Sky.

Title Decision

I have decided on a title for the piece I am composing for Adam's ensemble.  I decided to stick with the working title Night Sky.  I believe that the material I have developed lends itself nicely to the imagery invoked by the title.  This will also give me a definite direction for the rest of the piece.

Composing Session: March 13, 2010 - Challenge Update

This afternoon I sketched out ideas for what is approximately the next minute's worth of music.  Right now it is not a continuous sketch.  Rather I have sketches of individual melodic ideas that I will be using.  Most of the sketches are numbered so that it is just a matter of assembling the ideas.  My focus in this session was to continue to develop the previous material.  I have also begun to derive a melody from the ostinato bass line.

Tomorrow, the goal is to assemble the ideas to create a continuous sketch and then push forward trying to complete the A section.

Weekend Challenge

I have decided to challenge myself this weekend.  The challenge is to sketch out the rest of the A section for the pieces for Adam Noel's ensemble.  My target duration for this section is three to three and a half minutes.  Currently I have sketched out about one minute of music so I am one-third of the way there.

I hope to post some sketches here this weekend as I make progress on the A section.

Listening Journal: March 1-7, 2010

Gyorgy Ligeti - Lux Aeterna (1966) for choir
Silvestre Revueltas - Planos (1976) for orchestra
Igor Stravinsky - Three Pieces (1914) for string quartet
Carlos Chavez - Tambuco (1964) for six percussionists
Franz Joseph Haydn - Symphony No. 97 in C major (1792) Cleveland Orchestra, George Szell
Franz Joseph Haydn - Symphony No. 98 in B-flat major (1792) Cleveland Orchestra, George Szell

Composing Session: March 6, 2010

On Saturday I sat down and began composing the piece for Adam Noel's group.  I have decided to open with a simple eight-note, eight-beat ostinato.  I plan on adding layers to the ostinato creating some variation and development.  So far I have sketched out the first sixteen measures.  In this sketch I have started to introduce the thematic material upon which I will base the piece.

Right now my overall formal plan is a simple ternary form: A B A.  The A sections will be played at a moderate tempo with a contrasting B section in a faster tempo.  I do need to consider the level of the ensemble for which I am composing.  I do not anticipate complex rhythmic structures in the B section.  This formal plan is similar to my first piece for wind ensemble Homage where I used a ternary form and the motivic material was derived from a melodic bass ostinato.

My working title for this piece is Night Sky.  I do not really have a reason for this and I am unsure if I will stick with this title.  I am still thinking about it, but somehow it seems right.

A Truly Inspirational Story

I just finished reading The Soloist by Steve Lopez.  I realize I am behind the times, but it was on my "to read" list for a long time.  I was completely blown away by this book.  It is, by far, the best book I have read in the last year, if not longer.

This book describes the unlikely, but somehow destined friendship between Los Angeles Times columnist Steve Lopez and a homeless, mentally-ill, but massively talented musician Nathaniel Ayers.  In a way this book has reminded me why it is that I compose.  If I can make a positive impact on one person's life then it is all worth it.

This is one of those rare stories that makes you wonder why someone did not create this story before.  Some of the events and the reality of the situation would make for great fiction.  I am not saying that this story is fiction.  I know it is a true story.  I am only saying that this story would make for great fiction.  It is amazing to see this journey unfold.  Mr. Lopez set out to positively impact Mr. Ayers's life.  Little did Mr. Lopez know that Mr. Ayers would have a profound impact on his life.

As I was reading this book I could not help, but get emotionally involved.  I found myself rooting for Mr. Ayers to move indoors and take steps to getting better.  I also felt similar disappointment and anguish that I am sure Mr. Lopez felt when Mr. Ayers continued to show reluctance to further help.  I also remember sharing in the joy when Mr. Ayers finally moved indoors.

It was quite amazing to read about the outpouring of generosity people have afforded Mr. Ayers.  Some donated instruments and some donated time. It is truly heart warming to know that people still care for their fellow man.

Since finishing the book I have checked out the website for the foundation set up in Mr. Ayers's name.  The organization works for the benefit of the artistically gifted mentally ill.  The website is www.naayers.org and I recommend that you check it out and see how you can help.  I have added a link to the organization on the left and will soon add one at New Music Forum.  I was excited to read that in the near future Mr. Ayers will be releasing a CD titled Putting on Ayers.  I am looking forward to purchasing a copy.  I am intrigued by Mr. Ayers's talent and would love to listen to it.  Also, on this website you will find links to the columns by Mr. Lopez about Mr. Ayers, a link to the 60 Minutes segment and other great and useful information.

Not only is this a story about Mr. Ayers, but it also shows the harsh realities of the homeless problem in Los Angeles.  At times it highlights how we tend to cast them aside along with the mentally ill.  My hope is that there will be a change for the better in this situation.  This is truly an inspirational story and I am thankful that Mr. Lopez has brought this story to life.  Mr. Ayers is a talent that deserves the spotlight.

Listening Journal: February 22-28, 2010

Pascal Dusapin - Clam (1998) for orchestra
Franz Joseph Haydn - Symphony No. 96 in D major "The Miracle" (1791) Cleveland Orchestra, George Szell
Alan Hovhaness - Mysterious Mountain, op. 132 (1955) for orchestra
Pascal Dusapin - Exeo (2002) for orchestra
Edgard Varèse - Hyperprism (1923) for wind and percussion
George Crumb - Makrokosmos Volume 2, Part 3 (1973) for piano

Choosing a Direction

Normally beginning a new composition is an exciting time for me.  After choosing the ensemble I am faced with a myriad of possibilities for style, sound world, texture, duration, form, etc.  This time, however, I am faced with a little trepidation.  The ensemble for which I will be composing this piece is a middle school band.  Now I have no problem with this ensemble.  It is just that the techniques I can employ become limited.  It is through no fault of their own.  Most of the students have only been playing their instruments for a couple of years.

Another aspect of this piece that causes some intimidation is that I am friends with the director of the band. I tend to put a little more pressure on myself in this type of situation.  I am sure it will not cause me problems.  It is just something I think about.  After all, I want to make sure that I start off with strong material.

As I was working on Études Scéniques there was a phrase in the fifth piece Shaded Path that seemed very familiar to me.  At the time I used it because it lends itself well to that étude.  I have decided that I am going to use and develop this phrase in the band piece.  To me this phrase is not an opening phrase, but it will likely be the phrase with which I begin my sketch.

I still cannot place the familiarity of this line.  I am unsure if it is my own music or someone else's.  Maybe I will figure it out in time, or maybe it is not important.  Either way this is the material with which I shall start working.