24 May 2018

The Analysis of the Bozolo fanatsia No.2

A little discription about my work based on the name of my good friend Riccardo Bozolo

Bozolo Fantasy No.2

 

introduction


 

· This is the second Bozolo fantasia and the second dedication to my good friend Riccardo Bozolo which I consider one of the most promising pianists of this moment. This work differs from the other fantasia because of the  use of melodic material from his name: RiCCARDo Bozolo.

· In a way you can speak of serial music;  I use series build on RiCCARDo B which I translate in to notes: D# C C A D C B. I transform this series of notes, Chop it in to fragments, minimalize it, maximize it. All the renaissance techniques of counterpoint are in this work. 

· This work has a time of 26 minutes but this wishful thinking I think a good pianist as Ricco B will conquer this work in around 35 minutes.

· This work has 560 measures, 556 systems with 4 bars each and 50 pages.

 

Analysis

System 1; M1 to M7

This system in 6/8 time is built on what will be reviled in the last measure, M7 of Sys.1 , the Bozolo chords. In M7 we see this chord built on: D# C C A D C B. The measures before M7 have a transposition of this chord. This takes place in the ALTO bar or mid-voice. I divided the system into sub low, Low, middle and high or you can say : BASSO, TENOR, ALTO and SOPRANO.

So the Alto carries the Bozolo chords and is surrounded by the Tenor and Soprano which have the melodic material:

Soprano:  Db-C –A in M2, D-C-B in M3, D#-C-A in M5, D-C-B in M6 and D-C-B  and 8va lower in M7 in the key of D flat major except the last measure which is in C Major; On purpose to excel the Bozolo chord.

Tenor:  D-A-B in M3, C-D-C in M4.

So we have now 7 measures of system 1,  here are also the 7 letters of the series D# C C A D C B. in the first 3 measures we each chord Carrie the top note of this series: M1= dd, M2 =aa, M3 = bb. Than it moved to the middle; M4 =dd, M5 = dd.  M6 has no chord this is to give D-C-B in the soprano more attention. In M7 it ends with the full range of the series, D# C C A D C B,  build in to a chord which I call the Bozolo chord.

Basso: is blackened

 

 

System 2/3; M8 to M14

Soprano: here we see in, M8,  16th’s an C-D-B-A motif in , now in a 3 quarter time (6/8 = 3/4 =3+4 = 7 letters of the series), this motif is transposed in 2 other motifs of the same kind. M10 has the same structure only it starts on D, M12 has the same structure only it starts on A, M 14 has the same structure only it starts on B. on purpose I blackened the first notes of the begin motifs of each measure: C-D-A-B; again the notes of the series; D# C C A D C B

Alto: here we see in, M8 an octlet with the notes A-C-B-B-C-A and in a transposed appearance in measure M10, M12 and M14. In M9 (and  M11, M13) we see the 16th  notes C-D-B-A in a wide range motif and we see also an octavasion 2nd tact of this motif and a transposition on the 3th tact. This measure has the same rhythmic structure as the soprano (M8,10,12 and 14)

Tenor: here we see in, M9 ( and in M11 and 13) a triplet motif based on the note combination which you see in the Alto (M8,10,12 and 14) the note progression is the same in M9 is almost the same as in the Alto.[ D-E-D-D-[E]-D-E-E-D] is the note progression in M9 and we see a transposition of this motif in M11 and 13

Basso: is blackened

 

System 3,4; M14 to M22

Here we see an elaboration of the opening(M1 toM7)in the Alto a build op on the Bozolo chord which appears on  (the high note) 2x D# (M14), 2x A# (M15), 2x B# (M15) and 2x D# (M16),

In the Soprano and Tenor we see a repetition of what has been in M2,3,5 and 6 for the soprano and for the tenor in M4 and  5.

From M19 to M22 we see a Bozolo septlet in the Tenor. This septlet consist out of the melodic material used in previous measures and is built on 16th notes; the series is: B-C-D-A-C-C-D#. You can see this is a conversion of D# C C A D C B, the opening series.

The follow up of septlets  in measures M19 to M22 is built on harmonic progression in C major: M19_ VI A- IV F, M20_ VG-VIIB, M21_IID-VIIB, M22_IC-I or VI A/C.

· How is this septlet build up? Every 4th note (16th ) of these seplets is the main key of how I built those melodic chords for example in M19 first septlet A,C, E,G,(B) D# etc. I use the same classical build up as for every chord, in thirds: A,C, E,G,(B) D# = VI (M19)

 

Basso: is blackened

 

 

 

System 4,5,6; M23 to M32

In M23 and M24, in the Alto, we see 7 notes, dotted 8th’s , in the series of D-C-B-A-C-D#-C.

In M23 In the Tenor a rhythmic motif of 1-16th , 5-32th’s and 1 16th in this follow up of notes D-A-B-C-D#-C which is an a transposed form in the same measure on the 4th and 5th 8 beat  of this measure.

 

In M24 to M27 we see a repetition of M19 to M22 but now in the key of A major. If you look in M22 you see that I build the septlet on VI A/C (M22_I C-I or VI A/C). In this case I can choose do I stay in C major or do I modulate to another key and for obvious reasons this is the key of A flat.

In M27-M30 we see in the Sorpano the harmonic development of the Tenor in M27-M30. In the Sorpano, in these measures, there is no link to the Bozolo series. In M31 we a sort of “General auftakt” or anschluss motif, This motif will be important in M401-M403 where its form is slightly altered and and serves it again as a anschluss motif to a sort of Fugue ( M406-M465) based on the anschluss motif of M31.

· I wanted to write a fugue but because I wrote so many of them before that I didn’t had the energy to do it this time.

· page 3 M31 as beginning of this theme and page 43…(4+3)=7 not coincidentally as ending of this theme in measure 464….4+4+6=14….=7+7….the number 7 is trough out this whole work a important number: the 7 notes in the series; D# C C A D C B

 

The structure of this anschluss motif (M31) is also derived from the series of D# C C A D C B. You can see that the second part of this theme has the mirror structure of the first part and that it is a quarter altered upwards. It starts on B in the key of B major and alters to E.. I ->IV. In together this theme has 18 notes ( 18= 1-8=7 belief me when I say I thought this trough)

· I modulate in M28 from A flat to B majorM29; when the harmonic development allows, I choose to modulate normally in the form of  V-(V)-V -> A-(skip E)-B

In M32 we see a variation on the Bozolo chord as ending for this Periode.

· I think in this piece it’s better to talk about periods when it involves developments that have a larger span for example when I  write: System x Measure A to Measure J or System x,y,z Measure A to Measure J etc these are from now called periods.

 

Basso: is blackened

 

 

 

System 6, 7; M33 to M38

In the Tenor we see the broken Bozolo chord form M33 to M37. This is formed into a very pulsating rhythmic “block”.

In the Soprano we see, what would be seen later on, a very important development of the Bozolo series: its not an motif any more it has developed to a melodic phrase M34, 35 to 36.

· M38 has the cadence in B flat: IV-> VI-> V11(c)-> III-> II 4/6 -> IV 9(A) which moves back to the beginning M33 for a repeat

 

System 7,8; M39 to M44

In M39 to M41 we see in all voices an octavasion of the Bozolo theme. I could have chosen for simple octaves in the Alto and Tenor but I didn’t I want that the performer thinks in voices. The ritenuto is to build up  a dramatic effect towards to melodic phrase spoken before  (M34 to M36). This melodic phrase is now developed into a melodic movement in chords in the Soprano and in the Tenor but an 8th rest later to create an echolike effect.

· Harmonic progression of the Chords in this important melodic phrase M42 to M44:  I6 -> VI 6/4-c ->VI6 -> V6 -> II6/4 -> II -> IV -> VI6/4 -> VII6 ->I 5/6-B -> I6 -> VII6

 

System 8,9,10,11,12; M45 to M73

In M45 in the Tenor  we see in an octlet in 8th notes the  Bozolo series  D-C-B-A-C-D#-C but now in in B major and with a Natural D at the end. I choose for 8, 8th notes in a 6/8 time. I placed a rest in front of the serie to build op a curtain expectation, a kind of longing, This in the first place and in the second lace and I realised this at once that it gives a form of alienation when a voice is placed above it, I wanted this.  The Tenor is very rigid due to his build up which has in: M46 a mirroring, M47 a inversion and M48 a retrograde (all the baroque techniques ) of the theme, M45.

In M49 in the soprano we see the theme with 2 extra notes, F# and E; transit notes. From M49 to M54 we see a progression of the opening theme. Its starts in M49 -M50 when the theme lies close to his original but it slowly develops to M54. Its overall structure of this melodic line(no phrase) form M49 to M50 is A-B-B’ then A’-B’’-B’’’. A and A’ are related to each other due to the use of the opening theme.

In M49 to M52 in the Tenor we see a transposition of M45 to M48, a 3rd higher. M53 and M54 are both an elaboration of M49 the Soprano at the end of the theme, “Monolet”;  3 8th ,s in the time of a ½ Note (why? Well the number 7 has again a part of it:  4 8th ,s  in the time of 3 8th ,s-> 3+4 = 7)

· The same goes for M55 Soprano has 3 tredecimets, the Tenor down below has one: 4 x 13=52, 5+2=7

M55, Soprano,  is an variation on the anschluss motif we have seen before in M31 (and which develops to an fugue later on). The soprano is build out of sequences and the motif relates to M30 Tenor

M55, Tenor, is a sort of scale like motif  which has a mirror reflection when it goes down. On top it is accented to give it more input.

M56 to M59, tenor, is the same as M45 to M48 but now an 3rd lower than the original.

M57 to M58, Soprano, is almost the same as M50 to M51except M57 to M58 is an 3rd higher. M59; the septlets are now varied  and are now sequenced to M63. M59 starts on G, M60 starts on B, M61 starts on G, M62 starts on C, M63 starts on E. The form of this motif is based on the form  of M48 and M45 and in this order further  on, the note series which we see in, for example, M62 c#,b,c#,b,c#,b,c#,d,e,d#, It’s a variation of the Bozolo series.

M60 to M63, Alto, we see the “monolets” build as a sequence after each other. The variation on the motif lies in the higher notes, the 16th notes to be exact. We see in M60 in the soprano E-D-C-C-B-A ( E is an transit note). These series has his sequence from M61 to M64

M64 to M73, Alto, here we see in M64 to M69 also an combination of variations  in the same form as M49 to M50 is A-B-B’ then A’-B’’-B’’’. In M70 to M73 we see the septlet motif accompanied by the Tenor After M70 there is only the solo appearance till in M80 the tenor comes up again.

M69 last part of the measure here we see a sort of Generalauftakt that leads us to the “solo septlet movement”of 6 measures. In the 4 measures before that, M70 to M73 we see a strong build up to the note: D(#), and Yes the same D as in the Bozolo series. This D(#) is also the V of the G Sharp minor scale. I use this dominant to create a minor feeling (hence G Sharp minor) build in a sort of Toccata form

M64 to M73, Tenor, from M64 to M67 we see a sequence of 8 monolets. In this sequence there is no series of a Bozolo type just a harmonic progresion:  II2, VII2---I2, VI2---VII2,V2----VI2, IV2. After these 4 measure we see a repeat of M45 to M48, respectively M68 to M71,  but now a 3rd higher and in M72 is a B major  tone scale which confirms the key in retrospective; We are already in the key of G sharp minor.

 

 

 

 

 

 

 

 

System 13, 14, 15; M74 to M91

M74 to M79, Alto,Here  we see in the Seplet motif the D(#) note and it has besides an dominant function also an function as organicus punctus in the high setting not in the solo part where it has a only a V function; M74 to M79. (For performance reasons please give the D an extra pulse)

M80 to M91, Soprano and Tenor, Here we see the septlets and monolets against each other again. I moved the sepltet motif and octaf higher, in the Soprano,  to accent its function as V(dominant) and organicus punctus(For performance reasons please give the D an extra pulse). As in the Alto as in the Soprano, the septlet motif is a long stretched phrase to M91 where it ends on a last 16th note, the G# the same goes for the Tenor, M91, this monolet is the chord G# B D#: I in the key of G sharp minor

M80 to M91, Tenor, a Harmonic progression. In M80 we see the Bozolo motif: D(3x)-C-B-A, Than, in M81, a confirmation of the G sharp minor key, 3x G and then an mirror-motif of the Bozolo motif A-B-C-D(3x).From M82 till 83 it’s a loose variaton. The second half of M83 to M85 has a downward tone scale of G sharp minor ( for those who say the tone scale of G sharp minor is: G - A - B - C - D - E - F Double sharp sign.svg- G (harmonic) or G - A - B - C - D - E - F Double sharp sign.svg- G (melodic) I always use in +/- 90% of all cases the natural keys, in this case G - A - B - C - D - E - F - G. I do this for the simple reason that I think it sounds tacky within my music). The downward tone scale in M83 to M85 must confirm what I do afterward in measures M86 to M91.

M86 to M91 are built on 2 types of  harmonic progression: 1; All notes which make an overall chord pro measure. 2; in the down notes for example in M86 4x G# and M87 4x A# etc.

· 1st Pro measure:  III3/4 ->II5/6-> I 5/6 -> III5/6 ->VII5/6-> I. Every measure from M86 to M91 is built on one chord only

· 2nd Pro measure: (4x)G#-(4x)A#-(4x)B-(4x)E-(4x)F#-(4x)G# in short: I->II-> [ III ] ->VI->VII->I. The fun part is and that I leave in the middle..because it is the middle.. is: [ III ] this III note has an mediant  function; it can be I or V.

M86 to M91 has no link to the Bozolo series.

 

 

Alto and Basso: is blackened

 

 

 

 

 

 

 

System 16; M92 to M98

M92 to M98, Basso, 1st  voice in the Bass, has the Bozolo series: Pro measure; D#-C#-C#-A#-D#-C#-B

*I want this to be played with a sustain pedal that only the bass tone can be hold. I a sense you have here again a organicus punctus pro measure

1. M92, Bass, 2nd voice, I use in this case quint, quarter, quint chords

2. M93, Tenor, I use in this case quarter chords with stacked quarters

3. M94, Alto, I use in this case quint chords with stacked fifths 

4. M95, Sorpano, I use in this case third octave chords with stacked third octaves

The use of these chords is an harmonic build-up and a climactic build-up on the organicus punctus which lays in the 2nd bass voice BUT it is also a serious progression of measure M45 to M48 ( the Bozolo series)

M96 to M98, the soprano, here we see 3 third octave chords as a development of M95. The have the Basic Bozolo notes D#-D-B (Ri..B..)

System 17 and 18; M99 to M105

Sorpano : is blackened (M103-M107)

M99 to M104, Basso, has a chord build-up with a counterpoint base starting in M99 with the Bozolo series: D-C-A-D-B in the 2nd voice. Followed In a sequence from M100 to M104. The chords above the counterpoint are just an harmonic progression within G sharp minor with an exception: In M101 there is an GDouble sharp sign.svg instead of G# ( 3rd  Chord: EGDouble sharp sign.svgC# = EAC# it is just a major traid on II4/6 in a lowered position as an introduction to the scale of A major which appears in M102 and M103. This is not a modulation but an deviation to another scale. I use in M103 on in the 3rd chord an E# to get back in G sharp  minor (A#EFDouble sharp sign.svg)

M100 to M101 Alto and Soprano is based on measure M8 to give again a form of alienation except in the last 16th notes of M101 which are used to deviate to A major.

M102 to M103, Alto, the upward 32 notes are based on the Bozolo series, sequence-matique  build and with an mirror motif with a sixth interval: D#,C#,A#,B, A#,G# - sixth upwards – E,F#,E,D#,B,C#. This form repeats itself 3x, so 4 times in total. When we look at the begin notes of these series of 32ts we see these begin notes: D# and G#, next measure, G# and C# this looks like D-C-C-B and it is a variation on this theme. I have to decide what I want to do go back in G Sharp minor or stay in A major!

M104 to M105, Tenor and Bass, M104 is spoke in the above. Tenor, M105 has and scale that goes from F# to B. Bass, M105 has a broken scale that starts on D# and ends on F#. If we look 1 measure further we see the tone scale of G major: We have the notes F# and B so we have an situation of incomplete chords where I can do so much with! I can make an I situation (G)B(D)F# or an III situation B(D)F#  both can be explained in the scale of G major. With a little help of an fermate that gives the mind of the listener a small time to get used to a change and they can ask them self “Where is this going to” well we know now to: G major.

System 18,19; to 25; M106 to M138

M106 to M113, Basso, What we see here is a rhythmic, broken, organicus punctus on the note B. The note B is used to create the connection with the G flat minor/ B major scale I came from in the measures M105 and before that. The periode of this rhythmic movement has 4 measures: M105 to M109. I chose carefully the rhythmic patterns, I didn’t want the listener or performer to fill in the course of these patterns like you can do with a walls. There are no deep thoughts behind this only an carefully chosen rhythmic pattern. The pulsating chord we see is just and III2  in G major ( or an I2 as we stay or keep thinking in the scale of B major, and your mind will do so for these 2 measures M106 to M107)

M108 to M110, Soprano, here we see the same melodic phrase as we have seen before in M32 to M36. Both there appearances have in common that they appear above on strong rhythmic patterns. Is this by accident? No! I chose a not obvious variation on the base line of M33, they have both strongly pulsating chords and rhythmic patterns.

The Soprano is accompanied by an chord progression in the Alto.

M108 to M110, Alto, Has an chord progression in G Major: IV7->VI (Qnt Stk) ->I 4/6/7->III7->II4/6 ->VII 2/5/7.

M111, Basso, solo measure, 2nd measure of the rhythmic movement in sequence.

M112, Tenor, Has an chord progression in G Major: VII 2/5/7 -> II4/6 -> III-> I 4/6/7 -> VI (Qnt Stk) ->IV7

We see in M112 an retrograde and diminutio of the chord progression of M108 to M110

IV7->VI (Qnt Stk) ->I 4/6/7->III7->II4/6 ->VII 2/5/7._____ VII 2/5/7 -> II4/6 -> III-> I 4/6/7 -> VI (Qnt Stk) ->IV7

M113, Basso, solo measure, 4th measure of the rhythmic movement in sequence.

M114-M115-M116 to M117, Basso, Tenor, Alto, Sorpano, here we see a melodic quarter stack divided over 4 measures. M116 to M118 is the sequence of M115; every time a perfect 4th higher. The motif in itself also exists out of sequences build on: D#-C-C/D-C-C triplets, yes, based on  the Bozolo series.

M118,M119, M120 to M121, System 21 is complex to explain clearly but Ill give it a try. First I start in the soprano, here we see a progression of the page before we saw a sequence of the Bozolo series spread over 4 measures and 4 voices in a perfect quarter stack: -M115 D#, M115 A#, M117 E#, M118 B#. In M119 we see an continuation of this sequence but instead of going up it now goes down in a perfect 4th after M118 FDouble sharp sign.svg, M118 B#, M119 E#, M120 A#.(okay I skipped on octave in M118…)

In M118,M119, M120 to M121 we also see the rhythmic movement from M106-M109 but now divided over 4 voices moving upward.

 

The form and pattern as described in M114-M115-M116 to M117 I use now again in M122 to M125. The difference is now that they are accompanied by voices in the Soprano, Alto, Tenor and Basso. We see  Bozolo series variation in the Soprano: D, C,C,D,A,B,C,D,4xB build on the same rhythmic movement  pattern as M106, but now I only use this one measure and I divide it over 4 voices as seen in M118 to M121. So in a way M122 to M125 is a direct sequence of M118 to M21 only in reverse order: In M118 to M121 the triples are going down. In M122 to M125 the triplets are going up.

M126, M127, M128 to 133 is an reaped of M106 to M112 but now we are in the scale of G minor. G major to G minor is a small step:  G, A, Bb, C, D, Eb, F and like I said before I don’t do much Harmonic or melodic minor scales.

M134, Where back in G major with an a tone scale motif in the Basso build on the same rhythmic movement  pattern as seen in M106. At that time in the Tenor the Bozolo triplet motif has now the form: C,A,A-F#,E,E C#,b,F#. This form is repeated in the same measure and in 3 measures after M134 to M137 in the voices: Tenor, Alto and Soprano. The tone scale motif is in, M135, the tenor, 136, the Alto and in M138, the Soprano.In M135  I skipped the tone scale motif just to break your expectations. In M138, Alto, We see a very diffult movement of the Bozolo motif; hence the fermate and ritenuto; these 2 are referring to the difficulty of playing the 256th note. If you play this note as an vorschlag there is no problem. Overall if measure M138 is played extremely rubato I can live with that. To be clear: I love rubato playing! It gives more sense to the expression of music.

 

System 26; M139 to M149

M139 to M141, Alto,  Has an clear 6/8 time form but due to the punctated 2nd and 4th 8 note it will not hear like an 6/8 time. For no other reason than this; I want at this point no connection with an 6/8 measure pulse. The connection with the Bozolo series is in M140. This measure was first written than M139 and M141. Then, in M142,  I let myself lead to what I had done in measure M8, 10, 12: I started the M8 theme whit a rest and I used 6 8th note.

In M142 you see a triplet out of 3 8TH notes and a dotted quarter (= 3, 8th notes). I do such because it gives a disturbance metric and that is what I want I want to avoid on this place a 6/8 rhythm. Hence the quartlets (M145) I uses these for a little speeding up the music and it sounds with M142 to M144 like an entrance of a fugue. M146  to M149 is an repeat of M142 to M145 the only difference it had an extra voice in it and yes thease are the Bozolo notes ( Alto and Tenor) the 2 bass notes in the Basso are the give the whole an harmonic depth

 

 

 

 

 

System 27,28, 29 30; M150 to M172

In the alto, M159 to M160 we see a theme in sequence over 10 measures. This theme looks suspiciously like M31. In M31 I used it as a  General auftakt to M32. Its now a sort of General auftakt gruppe to M161. You can see that M161 and M32 are deeply related measures both have the Bozolo chords, the difference is that M161 to M172 is an elaboration  of M32. The punctured notes in M151 and further are the break the 6/8 rhythm and the give these 10 measures more “groove”. There is no relation to the Bozolo series in these Alto measures. The Soprano and Tenor is just based on rhythm and harmonic tension (M154 to M157) there are some similarities, off course, but It’s too little to mention.

M158 to M159 in the Soprano and Tenor Is based on the Bozolo series, the same goes for M157 to M160 for the Basso, there you can see in dotted half notes D-C-A-B.

M159 to M160, Tenor,  has the Bozolo series in the quartlets and triplet motive and it works itself in a sequence to C in the last measure the come to rest in M161 with the Bozolo chords. The baseline, Basso,M161 to M164 has the Bozolo series. The quarter chords in M165 to M168 are based on the baseline of M161 to M164. The same goes for all the voices of M169 to M172, Soprano, Alto, Tenor and Basso. Its all a variation of M161 to M164: so if have to make subdivisions:  M161-M164= A’/ M165 –M168= A’’/ M169-M172= A’’’

 

System 30, 31,32,33,34,35,36 and 37; M173 to M204

M173 to M174, Soprano, Alto, Tenor and Basso, are all based on the Bozolo series in sequence. I think these measures speak for themselves and are used as a General auftakt gruppe to an repeat of M169-M170, namely M175 to M178. We see an repeat of  M173 to M174 in measure M179 to M180 with an extension in the soprano of the  (M181) in the form of an quindecimlet. This is played ritenuto, you have an quindecimlet a finished on the “D” ( Ri! Of Riccardo)and an extension of this D in M182 this all to emphasize and delay the “D”. ( and is again a General auftakt to M183)

· A:The Keys I use from M165 to M204 are based on the Bozolo series: M65 D flat major/ M169 C flat major/M174 B major/ M181 to M204 A major. (see B)

What Happens in M183 Soprano, M185 Alto, M187 Tenor, all 32 notes all, the same key? I want to create a sound that stays, like an Organ, String instrument, Winds etc, at the piano when you press a key the sound will fade away in contrast with the other instruments I just mentioned  the sound will stay. So; these 24 notes of 32ts  must be played really fast to give you the feeling of a sustained sound, like the instruments above. I know not every piano can do this but a light tough, a Steinway, can do this.

All sequences you see are all based on the Bozolo series, ditto all quindecimlets you see.

M182, 184 , 186 and 188 three lonely notes, I use these notes, in augmentation,  to create an expectation and off course in the Bozolo series

In M187, the Alto, I introduce a new Bozolo motif to create again a delay, now towards M189. The quartlets you see in the are from the same idea of quartlets as in the alto in M159 but now in augmentation and again in the Bozolo series. M189 starts with D, M190 starts with C, M191 starts with A, M192 starts with B.

M189 to M192, Basso, have the Bolozo notes. A-B-D-C. I repeat this measures un purpose for the simple reason of liking them so much! All the way to M204.

M193 to M196 we see a broken 32 note line whit within it the Bozolo series in the Basso sequenced over Soprano, Tenor, Alto. Each series start wit a Bozolo series note: C-D-B-A. The dotted notes in Tenor, Alto, and 2x Basso are also the Bozolo series: D-C-A-B.

M197 to M204 is a repetition of moves you saw in the previous measures.

 

System 38 M205 to M216

M205 to M216 is the same as M139 to M150. The difference is I change the positions of the chords in the Soprano, Alto and Tenor. The Basso has an organicus punctuson the F# to give it more tension.

· B: The key in which it is written is C sharp major, the measure M217-> B major, M220 A major. (see A) ( M65 D flat major/ M169 C flat major/M174 B major/ M181 to M204 A major)

Here ends the Bozolo modulation range for now

System 39, 40 M217 to M234

M217 to M234, is an elaboration of M8, Alto. In the sequenced 3 measures we see in the Basso the Bozolo theme in the first 8th first note and last 8th note, of the M8 motif: M217 to M218-> M219 to M212-> M222 to M225. IN the Tenor, Alto and Soprano we see the triplet motif of M210 without the dotted 16th rest who develops to a variation on M205 to M207.

M226 to M229, Soprano,  is the Bozolo series, solo in a sequence over 4 measures. M230 to M234 is an elaboration of M226 to M229 is a setting that reverse to M205 to M207. The seventh interval between the notes reverse to the 7 notes of the Bozolo series.

System 41, 40 M235 to M238

The Alto has a long hold D, I know this is completely impossible, but I hope that one day there will be piano’s with “register” peddles that can sustain notes in the  four registers  (S,A,T,B)

The Tenor, M235 to M236,  has the septlet  motif where every septlet starts with a note of the Bozolo series:A, B-C,D. M239 has a downward tone scale as General auftakt to the Bozolo chords in M237.

The Basso, M236 to M237 has an upward tone scale as General auftakt to the Bozolo chords in M238. The Bozolo chords have also the function as General auftakt to M239; The Alto.

 

 

 

System 41, 43 M239 to M249

In the Alto, M239 to M249 we see an chromatic motif that is repeated over  11 measures. The motif itself  had little to do with the Bozolo series. This motif is to create a sort of alienated tranquillity; M239 to M244. Than the motif moves to the Sorpano in a very high register to give it more depth.

In the Basso and Alto we see the Bozolo Motif from M38. The motif is now double and must be played with one hand. All octaves are next to each other but in both voices at the same time; I know its hard work but not imposible. It has to be repeated 2 times.

In M250 to M251, from M254 to M255 and from M262 to M265 we see first in the Alto and later doubled in the Tenor and again, later on, extended , the same motif as in M23. All accented notes have the Bozolo motif. The key is G major

M252 and M256 we see an all voices doubled in octaves, again to create a sort of alienated tranquillity but now in an climactic way.

In M258 to m261 we see an repeat of M246 to M249 but in another key: B flat major. It must be repeated  2 times.

M266 the same lonely notes as in M182, 184 , 186 and 188. They have the same purpose to create  an expectation.

 

System 43, 48 M267 to M281

I can be very short about M 267 to M281 and M291 to M305 which is an repeat of M267 to M281 with an extra voice in the Basso. The Idea is simple: Based on the Bozolo series I made an Einaudi like work 2.0. I did this is less than 5 minutes, it sounds great but it is nonsense, difficult nonsense I admit. Why?  To show you, as protest against superficial music based on trickery, how easy it is to make this kind of music. It’s good to listen to but let’s make not more of it!!

System 49, 50 M282 to M290

M282 to M290, Soprano, Alto and Tenor, can be summarized as an Übergangsgruppe containing  the Bozolo series in the Soprano: M282 which is sequenced in M283-M287 to M290.

In the Alto we see a variation of measures M99 to M104. Even M105 as seen in M287 and M289 as a sequence.

M282 to M283 in the Tenor we see an echoing of  the Sopano. The same goes for M287 to 290. In M284 to 286 we see the Bozolo series sequenced in 32 notes  going in an upward movement.

 

 

 

 

System 50 to 52 M291to M305

· See the Einaudi explanation above!(the modulations in this period are just modulations)

 

System 53 to 55, M306 to M320

To keep the Bozolo/ Einaudi movement interesting  for myself I combined the rhythm movement of M106 and further,  in a variation. I added on “surprisingly” places the Bozolo notes to spice things up. The Bozolo  rhythm movement is spread over 5 measures and sequenced 3 times in the keys of C sharp major, A flat major and D minor (natural)….yes the Bozolo series.

System 56 to 62, M321 to M353

This is a repeat and extension on former measures.

 

……The problem is: This is so boring for an composer to analyse his own work and it kills my creativity. The only nice thing for me is that what I hear, see, think and experience in seconds it takes weeks to analyse it and write it down, this insight in myself  is a nice thing to have. A lot of times I think by myself  “Maurice you are just doing something” but no! It is a musical process that is processed at  light speed range, in myself and for myself.

And…. To think this is just a sort of from analysis and not even an harmonic analysis. Some words about the fugue it’s a pseudo fugue with the voices and all but this Pseudo fugue is over-complete and has no 2nd, 3th etc. part it almost stops at the end of the exposition. Why? I composed enough fugue’s and I do not feel like making them any more at this point in my life.

 

 

Maurice

 

 

 

 

 

 

 

 

 

 

Comments

Log in to post a comment