Theme and variations

I recently promised some friends that I'd post the final project from the composition class I took last semester. I figured that my blog-following audience [as well as you lurkers; I know who (most of) you are. If you're going to read, you might as well leave a comment once in a while. Or, if the subject matter doesn't suit you, you can at least send a surrogate.] might be interested to see it, too.

But this... isn't that project. I'm actually quite proud of my work on the final project (a cello concerto), but I left a few things half-finished in order to meet the course deadlines. So, while I finish up the score for the cello concerto, allow me to offer this as a cop-out: my first composition project for the course, a theme and variations for piano.

The requirements were straightforward: one theme plus five "variations" on that theme, lasting in total approximately three minutes, containing at least one key change and one time signature change. I wrote each of the variations in a very different style, and since I believe that context always enhances the listening experience, let me drag you through a little bit of play-by-play analysis:

- Theme: It's... well, it's the theme, presented very simply in unremarkable four-part harmony. It's a little boring, even, but that's sort of the point, to take an ordinary theme on a wild ride through the variations. Plus, it's only thirty seconds; you can make it.

- Variation I: The first variation is a slow, brooding treatment of the theme. I like its atmosphere, but still the presentation is rather uncomplicated.

- Variation II: I lack the contrapuntal mettle to write a full-fledged fugue, but this variation is at least fugue-like. I love Bach's ability to weave passion and intensity into a tightly constructed musical mass; here is my effort at emulation.

- Variation III: Here I'm deliberately imitating the major-scale sappiness of Rachmaninoff. Although this variation was a good exercise in part-writing, it's a little too melodramatic for my tastes.

- Variation IV: I'm most proud of these last two variations, mostly because they exhibit qualities my of own compositional voice: asymmetrical time signatures, lots of dissonance, unapologetic parallel motion, and an emphasis on harmony over melody. And while the fast tempo forces this variation to be over too soon, it's far and away the best 20 seconds of the piece.

- Variation V: The final variation is an attempt to merge Sigur Ros-style ambience with an Eric Whiticare-style approach to harmony. (There's also a Sufjan Stevens reference; five points to the first person to correctly identify it!) I'm pretty happy with the result and its atmospheric minimalism. I won't pretend that there's some grand artistic meaning to my little school project, but I think this variation gives a fitting end to the piece: after folding, spindling, and torturing the theme, we pare it down to its essential elements and lay it to rest.

Below are links to the piece itself (.mp3) and the score (.pdf). Be forewarned: even though there have been great advances recently in electronic music, the mp3 file still came out of Finale's synthesizer. As far as synthesizers go, it's quite good, but don't expect it to sound like the real thing. And since I don't play the piano, a live recording isn't likely to be forthcoming anytime soon. Also: you may need to turn up the volume or use headphones. Finale is a little sissy about volume.

I know it isn't much, but it's something I created from scratch, and something I'm a little bit proud of. Please enjoy (please?):

Score (Finale)

(Sometime tomorrow I will upload the hand-written score, which will immediately make the whole thing at least 17% more bona fide. I'll also try to get Google player embedded into the post. I couldn't get it working, and I believe that blog jukeboxes are moderately evil, so we're stuck with this for now.)