UNDER CONSTRUCTION

Getting Caught Up

Over a year ago I came up with the idea of writing a large-scale work that was as perfectly balanced in its form as I could make it. I decided to use the Golden Ratio and the irrational number, Phi (φ) to determine the Structure of the Clarinet Sonata from the proportions of the movements down to the structure of the phases within (see “Step One: FORM,” November 11, 2022.) This resulted in the creation of a detailed map for the piece as a whole (see “Charting the Course,” January 12, 2023.) I soon realized that if I was to plan the proportions of the piece so precisely, I would need to measure the energy of each measure. This led to the development of several tools. The Pitch Class Set Calculator (see “Tools of the Trade,” December 16, 2022) allowed me to quickly organize and manipulate chords and scales. The Energy Calculator (“Monsters, Bugs, and the Shape of Loud,” December 20, 2023) allows me to objectively measure the relative energy of any given measure. That tool has continued to be refined.

After a necessary hiatus from the sonata in which I wrote a one act opera and a score for the silent film, The Cabinet of Dr. Caligari I’m finally hard at work and making significant progress on the sonata.

I’m happy to say that I now have a complete draft of the first and largest movement!

Energy Calculator Continues to See Refinement

Current Energy Calculator

Continued improvement includes advanced targeting and the ability to adjust a + or – percentage. I currently have it set at + or – 2%. Total value turns green when it falls within the set margin of error. The deviation field turns red when the total value is over the target or blue when under and the corresponding color tells me which element—rhythm, pitch, or dynamics—is responsible for the deviation.

This has been a great way to train myself to hit a desired energy level. I can tell you there is nothing more satisfying than those few instances where my first attempt at a measure hit the energy level exactly.

The calculator also records the output so a graph of the completed piece may be viewed.

Recorded Data

Adjustment to the Original Energy Plan

I found that I did not like the original energy of the coda which grew steadily to the end. As a result, I divided the coda into two phi segments with the shorter segment first. This created a gradual decline in energy to the end of the movement. I placed the energy level of the end at the point where the Average Energy, Median Energy, and Median Dynamism are balanced. Note the three horizontal lines in red, green, and purple.

Proposed Energy line (orange)

Current Energy Line. Note difference in Coda

Complete Draft of the first movement.

The strict sonata form of the movement made me realize I couldn’t write linearly. I rarely do anyway. I decided on the following order:

1.     Exposition: 1st theme group

2.     Recapitulation: 1st theme group

3.     Recapitulation: 2nd theme group (pitch and meter corrected)

4.     Exposition: 2nd theme group

5.     Exposition: Transition from 1st theme group to 2nd theme group

6.     Recapitulation: Transition from 1st theme group to 2nd theme group

7.     Development: Re-transition to Recapitulation 1st theme group

8.     Development: False recapitulations

9.     Development: Remaining segments

10.  Coda

As I use the Energy Calculator to track the measure-by-measure energy, I can get an idea of how closely the finished pieces follows the original plan that I created over a year ago.

Original and Current Energy Line

The First Theme Group and Harmonic Material

The first theme group has, perhaps, the largest collection of pitch class sets I have ever used in a single movement. I needed a wide pallet of colors to delineate the two contrasting themes of the group. The first theme is more sonorous and richer while the scherzo-like second theme is harsher in its harmonic material with prominent use of a (0,1,5) pitch class set (PCS). Anytime you see two consecutive integers—in this case, 0,1—in a pitch class set it represents a half step. The 5 creates a perfect fourth which is also dissonant in traditional harmony. An examination of the PCSs used, shows two of them are symmetrical. This symmetry is often used to give the sense of resolution. Note that the Second Theme group, by comparison, uses far fewer PCSs and half of them are symmetrical. This was by design in order to create a more lyrical Second Theme Group in a nod to eighteenth and nineteenth century sonata allegro conventions.

Harmonic Material and Synthetic Scales

The Second Theme Group.

The Exposition of the Second Theme Group has it transposed at T5 (perfect 4th) and in a meter of four-four. The 1st Theme Group is primarily in a meter of nine-eight with the eighth notes grouped 2 + 2 + 2 + 3—like a measure of four-four in which the fourth beat has an extra eighth note. In the Recapitulation of the Second Theme group, I correct the transposition to T0 and correct the meter to nine-eight, both of which match the 1st theme group.

Second Theme Group Exposition

Second Theme Group Recapitulation

The thematic and harmonic material of the Second Theme Group is derived from the second theme group of the last movement of the Poulenc Clarinet Sonata, a piece that I fell in love with as a young clarinetist and have performed many times. Poulenc uses a gapped scale and a minor seventh chord— (0,3,5,8) pitch class set—at the beginning of his second theme group. (10:59)

The Coda is slower and statelier—an homage to the Brahms F minor Clarinet Sonata in which the coda has always reminded me a little of graduation music. (10:48)

I now have a draft of the first movement. The new process of righting eliminates long sketches and replaces them with shorter phrase length sketches then get adjusted measure by measure. Because the calculator forces me to create gestures that affect the energy, it becomes difficult to maintain a consistency of style unless I work in shorter segments. This is turning out to be a pivotal piece for me and I’m happy to share it with you.

 Listen to the last movement here:

The use of the Energy Calculator changes my revision process. Since all elements of the music—pitch, rhythm, dynamics, articulation, harmony—all influence the energy of any given measure, the result is a process of continual revision, measure by measure. Once I reached the end of the movement there was relatively little to go back and flush out.

I hope you have enjoyed this update. It takes a lot of time and coffee to be this nerdy. Please consider contributing to the project. Thank you all so much for your patience and generosity.

Brett