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Minneapolis Composition Analysis

This composition is based on an ascending melodic motive derived from a specific scale. It begins in 5/4 time and later shifts to 4/4. Like Schoenberg's Opus 11 No. 1, it develops the motive using techniques like repetition, retrograde, fragmentation, diminution, augmentation, and alteration of register. The left hand accompanies with chords or plays variations and sequences based on fragments of the motive.

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Clare Cooney
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48 views1 page

Minneapolis Composition Analysis

This composition is based on an ascending melodic motive derived from a specific scale. It begins in 5/4 time and later shifts to 4/4. Like Schoenberg's Opus 11 No. 1, it develops the motive using techniques like repetition, retrograde, fragmentation, diminution, augmentation, and alteration of register. The left hand accompanies with chords or plays variations and sequences based on fragments of the motive.

Uploaded by

Clare Cooney
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

Theory 4 Composition 1~Minneapolis

Recorded by Clare Cooney on the 14/8/2016


This Composition is based on a motive utilizing notes from the below
scale. The Original motive is primarily an ascending melodic figure.
The composition began in a 5/4 time signature and later progressed
into 4/4. As identified in Schoenberg’s Opus 11 number 1, his

manipulation and development of a motive utilizes many different


techniques and thus Minneapolis uses fragments of the original
motive. The opening 2 bars in the right hand the motive is introduced
and then repeated using the retrograde of the motive. When the
composition was in its early stages there was a very limited flow as I
hadn’t started utilizing fragmentation technique. As the
compositional process developed I began to take fragments from the
original motive and from the retrograde and repeat them or change
them. While the left hand uses a repeated B flat and F sharp chord
similar to that used in Schoenberg’s Opus 11 number 1 the left hand
also plays melodic material. Allowing the motive to be developed
further. In bar 6 the retrograde of the motive is diminuted creating
this ascending scaelic passage, which occurs again in bar 7. The left
hand in bars 8-9 uses a variation of the retrograde. From bar 9-13
the retrograde of the original motive has been augmented and the
register has been altered creating variation. Bar 12-13 the left hand
carries the ascending melodic sequence based on the last four notes
of the original motive.

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