August 9, 2011 § 1 Comment
I am quite pleased to have a version of Scherzo No. 3 largely formulated. The main subject (A) is taken from the improvisation posted at facebook.com/cochranmusic below this text. I introduced three more subjects that have motifs shared between each other and the structure that I am presently most happy with runs as [A, A, B, C, D, C, B, A, coda]. The coda references all subjects, A is fast and B, C and D have a lower intensity. Notice the mirror effect of this structure with D at the center. With the subjects played in many ways I decided upon the structure while in a cafe in the same way that I did with Mazurka No. 1. Using this structure it is largely Ternary form although the middle section (all but A) is like a Rondo. Harmonically and melodically it is unusual in that it is largely limited to the notes of C, D#, E, G, Ab, and B. Having explored the properties of this scale thoroughly I am hoping that they will be useful in future works.
With only the words about technique you might think that aesthetics and the nature of the subjects themselves and so on have less importance; this is contrary to the truth however the continuous aesthetic decisions when creating melody, adjusting rhythm and so on within the music are beyond what I am capable to shed any light upon using words. It is more helpful to talk about the things that are created the most consciously. Generally when away from the instrument I concentrate upon resolving rhythmic questions and broader structural decisions. I’ll continue to refine the work for some time and then post a draft recording. I rarely start the notation until entirely satisfied with the work in my mind. Notation leads to greater cementation which can be somewhat destructive (the music becomes less as liquid) in dampening the opportunity for further refinement so I write the music as late as possible.