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Dr. Justin Henry Rubin © 2005
7. Other Modifications. Again, to bring clarity to the structure, the addition of a second part is useful regarding texture and details. Note that in the second section, when the first part introduces a third, even higher voice, the lowest voice of the second part is dropped out. Only in the third section (modular units 13-24) is it brought back to fill out the final texture. As well, the pitch content of the second part is at times capricious in order to bring an unexpected element into the otherwise systematic rubric.
Regarding the number of repetitions, the length of the piece overall informs the individual decisions of the composer. However, to avoid too consistent an approach, an alternation of 8 and 6 repetitions in the shorter modular units provides enough time for the listener to grasp the content and follow the new rhythmic layout without saturating the ear. The numbers of repetitions of the longer modular units are kept at a minimum for the same reason.
mp3 download (ensemble version - First Players: flute, clarinet, harp; Second Players: vibraphone, bass clarinet)
Continue for another perspective on process composition.
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