Instrumentation
Alto Flute
Clarinet in Bb
Cornet in Bb
Horn in F
Violin
Cello
Piano
General commentary
This work is built around, and inspired by, the ‘acoustic’ scale (or overtone scale). This scale interested me because of its relation to the harmonic series with its raised 4th and lowered 7th degree creating more interesting harmonic possibilities. This scale can alternatively be interpreted as the fourth mode of the melodic minor scale. The harmonic possibilities and the creation of what could be known as a harmonic sea or wash mean that chords created within this scale generally all balance and move well together, increasing the opportunities for more unconventional movement and modulation. The purpose of this work is to highlight the ability of natural acoustics to resonate within a space. The exclusive use of the acoustic scale in this work aid this idea as the wash of tones ring more resonantly than they do when based around more conventional scales because of its relation to the harmonic series.
The work begins and is based around the tonal centre of C, which some theorists have argued as sounding innocent and childlike (possibly due to C being the first key people generally learn). This is an important idea for the natural sound. Modulations based around the 6th and 3rd occur within this piece, allowing for less conventional but arguably more romantic-style modulations. Moving from C to A and then to C# means that the piece feels controlled in its relative modulation yet relatively chromatic, always moving and flowing thanks to the harmonic diversity of the acoustic scale.
The use of non-standard/extended techniques in this work is limited but always aids the idea of resonance. String harmonics are the most obvious example adding high pure overtones over the rest of the material. The use of pulsing air pressure in the wind and brass at times is done to highlight the varieties in tone that each instrument combined adds to the overall wash of sound. The extensive use of piano pedalling also helps to build resonance within the performance.
Although each part is independent, there are times when they are grouped according to the timbral quality of their sound. Often this means grouping by family (e.g. the Violin with the Cello, the Clarinet with the Flute etc.). The two hands of the piano are, for much of the piece, quite independent of each other. This is to prevent the piano from becoming harmonically dominant but predominantly to utilise the interaction between hands as a family of their own.