Composer Don Staunton sent us a recording, 37 seconds long, interested in creating an orchestral arrangementrefers to the structure and order of musical elements in a composition, such as melody, harmony, rhythm, and instrumentation., an expansion of his recording.
He sent us this:
Step one was transcriptionThe process of notating a piece of music as it is performed, either by ear or from a recording.. Impressionistic in style, it’s reminiscent of Ravel or Debussy, with voices moving independently and resolving at different times.
In order to expand this, we did a melodic analysis identifying the various themes for extraction and development, using conventional compositional devices.
The graphic shows my (extreme) shorthand, with some references to a theme in another piece (another possible movement to a larger piece).
The opening statement is the first 6 notes of the main theme in a different order, with hints of the chromatic secondary theme underneath it.
The theme is stated, orchestrated in strings and woodwinds.
The mid section pauses on a fugue generated from the treble clefA symbol placed at the beginning of the staff that determines the pitch of the notes on the lines and spaces. theme marked as “68” in the analysis, with the piano stating the theme the second time, with an elongated melodyA sequence of single pitches perceived as a unit, usually the main theme or tune in a piece of music. in the low strings crossing it, opposing and resolving as it progresses.
Later, the rhythmic section incorporates the rising bass line from the theme marked “68” with various previously established elements recapitulated over it, building into a transitional punch, into a recap of the final bars of the original piece.
Here’s our result:
Share your thoughts!