"In 'Six Circles' we are using the painting as a graphic score. Every section of the piece is based directly on one of the circles or sections of the painting. We looked at a number of ways of representing the idea of circularity in a musical context and included ternary beats and staggered entrances to sound like the music is rolling, repetitions as loops, literally passing the material around the circle, and phasing tempi and dynamics so that the sound is moving around the space. Every element of the piece is tied to the painting, from the minor tonality representing the colour palate to the Major key ending representing the largest and brightest of the six circles.
Tuesday, February 10, 2009
Programme Notes
These are the programme notes for the CYO concert next month. I couldn't remember what all of the links were between the music we wrote and the painting- so I made the kids brainstorm and remind me and we came up with a whole slew of reasons- many of which are contained in these here programme notes. (The concert is in Cornwall- therefore I am using their spelling of Program. Just so you don't think I've gone totally British on you here.) Some of the more esoteric ones I left off, these are plenty esoteric enough:
"In 'Six Circles' we are using the painting as a graphic score. Every section of the piece is based directly on one of the circles or sections of the painting. We looked at a number of ways of representing the idea of circularity in a musical context and included ternary beats and staggered entrances to sound like the music is rolling, repetitions as loops, literally passing the material around the circle, and phasing tempi and dynamics so that the sound is moving around the space. Every element of the piece is tied to the painting, from the minor tonality representing the colour palate to the Major key ending representing the largest and brightest of the six circles.
"In 'Six Circles' we are using the painting as a graphic score. Every section of the piece is based directly on one of the circles or sections of the painting. We looked at a number of ways of representing the idea of circularity in a musical context and included ternary beats and staggered entrances to sound like the music is rolling, repetitions as loops, literally passing the material around the circle, and phasing tempi and dynamics so that the sound is moving around the space. Every element of the piece is tied to the painting, from the minor tonality representing the colour palate to the Major key ending representing the largest and brightest of the six circles.
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