# Theme, variations and interludes for 5 violas



## violadude

So based on all the positive feedback I got from my piece for viola and clarinet, I decided I would post yet another piece of mine.

I wrote this piece in 2008 when I was 16. My former viola teacher hosts a viola festival every summer called the "Max Arnoff Viola institute" and she commissioned me to write some new music for violas. Otherwise, I wouldn't choose an ensemble with just viola haha.

Anyway, since this piece is quite a bit longer than my other piece, it will require longer explanation right? 

This is one of the darkest pieces I have ever written. It was my first experiment with more modern composition languages (before that I was composing pieces that were really really tonal). It is not a traditional variations...but a theme section with 3 different loose variations, divided by various interludes. It is in 8 sections. So the sections look like this:

1. Theme
2. Atmospheres I
3. Mirrors
4: Variation I
5: Atmospheres II
6: Variation II
7: Parody
8: Final variation: Aria and coda

So in the theme section, which acts as a theme exposition, there are three important motives that hold the piece together. The first one is the very first melody on the first viola, I'll call that the "melody theme". The second is a rocking figure at 0:15, I'll call this the "rocking theme" and then a 3 note descending chromatic motif at 0:20 and I'll call this the "chromatic theme." Another important element of the theme is a surging climax reaching its peak on a high c# on 0:45. These are the motifs that are fleshed out throughout this piece.

The next section, entitled atmospheres I (starting at 1:54), is just that, atmosphere. It was a chance for me to explore the color and atmospheric possibilities of the 5 violas. Don't try to look for a melody in this section, there isn't really one.

At 3:00 there is a twelve tone section (entitled mirrors) that is divided into three sub-sections. The tone row is laid out straightforwardly in octaves from the very beginning. The tone row is D-F-Ab-C#-C natural-B- Bb- A-G-Eb-f#-E. I constructed the tone row from the "chromatic motif" because as you can see, there are many descending three note chromatic patterns in the row. The 1st section has a march feeling to it. Starting at 3:23 there is an atonal canon between the instruments. Then at 3:42 there is a duet between two violas and they are a mirror image of each other. So in other words, the 2nd viola is playing the theme that the 3rd viola is playing, but backwards at the same time.

The 4th section (starting at 4:23) is the first variation. It is a pretty straightforward major key transformation of the theme section. It starts with the "chromatic theme" with the "rocking theme." It builds to that same c# at 5:42 and then at 6:07 the "melody theme" transformed into a major key.

The 5th section (at 6:52) is a pseudo-chance music experiment. I gave the violas the same thing to play for this section but I told them to come in succession with each other whenever they want to, creating interesting atmospheres I think. This section is built from the theme motifs. The "chromatic theme" is all over the place, upwards and downwards. One part of this section has the violas play a fast note version of the "Melody them." It first appears at 7:47.

The rest of the piece is on the second video. The 6th section is a 2nd variation. It is a creepy, bare fleshed out version of the main theme section. at 0:20 there is a pizzicato version of the rocking theme. It still surges to that c#at 0:47. At 1:02 there is a stomping theme that foreshadows the climax of the piece.

1:20 starts the 7th part, called parody. It starts with a nice viennese waltz, then the waltz turns sour, then there is huge Mozart parody. To me, this section was like me shaking off over-influence of Mozart (since I had only composed in classical style tonality until this piece). After that there are some pounding, early Stravinsky rhythms, (2:49) like an angry reaction to the intrusion of Mozart. The theme for the pounding rhythms is based off the "chromatic theme" and it soon turns into that, a swirling version of the chromatic theme ends this section.

Now at 3:36 is the final variation. It is called aria because for the first half of it, it is just a solo melody for the first viola, while all the other four violas take very simple accompaniment roles. This is the most simple music in the piece, but probably some of the most effective. The melody that the first viola plays is the "melody theme", the very first theme heard in the piece, but it is very different rhythmically. If you compare the two though, you will find they are the same notes. At 4:05 the melody and accompaniment are both based off a combination of the rocking theme, and the chromatic theme. At 5:16 the first viola takes the chromatic theme and starts building it to the climax, the climax is rushed into, constantly accelerating. Then finally, the 1st viola has a very very high solo, that is based off of the foreshadowing theme in the 2nd variation. That soon rushes into a very speeded up version of the melody theme, and then all the violists frenziedly play the chromatic theme, and then stop. The quiet coda then is played (6:13). The chromatic theme is played as an accompaniment to the "melody theme" then the the beginning of the melody theme is passed back and forth between two of the violas, as if they can't remember how to finish it. Two of the other violas play the rocking theme, and then it ends with the violas tentatively playing the chromatic them (upside-down) and then the final chord is accompaniment to a final statement of the chromatic theme, in the right inversion this time. The mood of the coda is very creepy, dark and depressing.

Anyway, LONNGGGG explanation. You can ignore it if you want. But I think it would help people understand the theme relationships that are rampant throughout this piece. I know it sounds kind of scattered, but make sure you stick with it until the end because the final variation and coda is where it all comes together.

Enjoy!!! 

Part 1: 





Part 2


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## Webernite

I like this a lot more than the other one.


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## violadude

Webernite said:


> I like this a lot more than the other one.


Me too.  Like I said, the other one I rush wrote in three days, this one I mulled over for about 6 months.  Did you listen to the whole thing yet?


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## Webernite

I'm on the second part.


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## clavichorder

It certainly has some romantic aspects to it, I was surprised at the tonal nature of the 4th section. I didn't know you were so precocious a composer to write this at 16! I like the 5th variation, and of course you quote Mozart's most famous piece and his favorite rhythm. I agree with you about the last section on first listen, simple but effective, it takes talent to write slow music like this. You've inspired me.


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## clavichorder

Can I ask you about your process of composing this piece? Did you write it out of your head or did you use an instrument for assistance? Did you carefully think out the harmonies? Because I thought the last variation seemed very purposeful. My problem is that I fear I won't be able to pick out the harmonies in writing a piece, so I won't be able to notate what I hear in my head, how did you manage this?


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## aleazk

very good piece, and written in such a young age, i specially liked the mozart parody. Sometimes it remind me a string quartet written by Glenn Gould 



 . regards.


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## violadude

clavichorder said:


> Can I ask you about your process of composing this piece? Did you write it out of your head or did you use an instrument for assistance? Did you carefully think out the harmonies? Because I thought the last variation seemed very purposeful. My problem is that I fear I won't be able to pick out the harmonies in writing a piece, so I won't be able to notate what I hear in my head, how did you manage this?


I definitely used an instrument for assistance, a piano, and my viola to figure out some of the effects that I used. I wrote the theme section first. For that section I just kind of let it flow out how it came to me in my head. After that, I went through the theme section and figured out the cells of the section that I wanted to use to tie the whole piece together. Then I outlined what style I wanted each section to be on paper and just went from there. Got idea after idea.

As for the harmony, I knew I wanted it to be a dark piece, so I used a lot of chords based on a diminished triad. Or sometimes I would put in a really traditional chord, plus one extra note to spice it up. For example, the chord that opens the final section is an a minor chord with a D added to it to make it more colorful. A lot of harmonies are derived from the themes themselves. For example, in this piece there was that chromatic theme, which was three descending chromatic notes. You'll hear a lot in this piece I actually stack those descending chromatic notes on top of each other to make descending chromatic thirds or sixths.

Some sections I didn't pay attention to harmony at all. Like the twelve tone composition was composed entirely in a horizontal manner and whatever harmonies happen, happen. Same with the aleotoric section. However, since I based both those sections on the main themes of the piece, similar harmonies ended up happening anyway.


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## violadude

clavichorder said:


> Can I ask you about your process of composing this piece? Did you write it out of your head or did you use an instrument for assistance? Did you carefully think out the harmonies? Because I thought the last variation seemed very purposeful. My problem is that I fear I won't be able to pick out the harmonies in writing a piece, so I won't be able to notate what I hear in my head, how did you manage this?


I can send you the score if you're interested in seeing what harmonies I use or anything else (or if anyone else is interested too). I don't know how well you can read alto clef though, which is what most of it is notated in.


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## starthrower

OK, I should be in bed by now (3:00 am) but I couldn't resist listening to your music. As I said, I'm just a layman but I really enjoyed this work. All of the various sections keep things interesting, so I found myself listening intently to the whole thing. 

I too got a kick out of the Mozart bit. Normally that music makes me roll my eyes, but your comical take on it made me laugh!
I'll give it another listen tomorrow. Thanks!


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## clavichorder

violadude said:


> I can send you the score if you're interested in seeing what harmonies I use or anything else (or if anyone else is interested too). I don't know how well you can read alto clef though, which is what most of it is notated in.


Perhaps I'll try the score, though I'd have to get used to alto clef, you are correct. Still, I could follow the score with the music playing. So yes, that would be great if you could send the score!


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## violadude

clavichorder said:


> Perhaps I'll try the score, though I'd have to get used to alto clef, you are correct. Still, I could follow the score with the music playing. So yes, that would be great if you could send the score!


Sent!

.....


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## Sid James

Thanks for sharing, *violadude*. I listened just now, once, and enjoyed it. It is quite complex and warrants me to return for a further listen. I'm currently listening to solo instrumental music, esp. guitar, but just on the "current listening" thread reported making my way through a set of modern works for double bass. In the past week, I've also listened to Boulez's_ Messagesquisse _for solo cello & six accompanying cellos. Aspects of your work here made me think of these types of things, eg. an imaginative and sensitive way of writing for only one type of instrument, utilising as many of it's colours, textures as possible. As Mr. Schwarzenegger said "I will be back" to listen to your piece again a few times to take it in more. I agree with the others, it does sound very accomplished for someone of quite a young age...


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## Aramis

I wouldn't fall asleep if attended concert with performance of this piece. I didn't read the long explaination. 



 - this piece is more groovy that yours. HMMM. I would say you're quite competent, perhaps you will haunt some classical music venue one day. It reminds me of those famous conductors and instrumentalists who studied composition in their youth and even wrote some pieces, nobody has ever heard them but they surely are competent and everybody knows they are tough because they wrote them. There is this photo in your videos with those pieces, look at this water, sense it's depth, you may even jump overboard and think of another work while you're underwater, I think your music is more with the city on the horizon than with the water. Sense it. Certainly Beethoven kissed the boy - would he kiss you? WOULD HE? FOLLOW YOUR DESTINY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


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## Klavierspieler

Very good piece. I don't like it, but it's still good.


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## violadude

Aramis said:


> I wouldn't fall asleep if attended concert with performance of this piece. I didn't read the long explaination.
> 
> 
> 
> - this piece is more groovy that yours. HMMM. I would say you're quite competent, perhaps you will haunt some classical music venue one day. It reminds me of those famous conductors and instrumentalists who studied composition in their youth and even wrote some pieces, nobody has ever heard them but they surely are competent and everybody knows they are tough because they wrote them. There is this photo in your videos with those pieces, look at this water, sense it's depth, you may even jump overboard and think of another work while you're underwater, I think your music is more with the city on the horizon than with the water. Sense it. Certainly Beethoven kissed the boy - would he kiss you? WOULD HE? FOLLOW YOUR DESTINY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!


Uuuhh ok......so how do I "dive deep into the waters" with my compositions then? What would you recommend?


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## violadude

Klavierspieler said:


> Very good piece. I don't like it, but it's still good.


Thanks....I think lol


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## violadude

Sid James said:


> Thanks for sharing, *violadude*. I listened just now, once, and enjoyed it. It is quite complex and warrants me to return for a further listen. I'm currently listening to solo instrumental music, esp. guitar, but just on the "current listening" thread reported making my way through a set of modern works for double bass. In the past week, I've also listened to Boulez's_ Messagesquisse _for solo cello & six accompanying cellos. Aspects of your work here made me think of these types of things, eg. an imaginative and sensitive way of writing for only one type of instrument, utilising as many of it's colours, textures as possible. As Mr. Schwarzenegger said "I will be back" to listen to your piece again a few times to take it in more. I agree with the others, it does sound very accomplished for someone of quite a young age...


Thanks Sid, glad you enjoyed it enough to listen to it multiple times! That's the ultimate test of a piece on the individual level in a way I guess. Did you read the explanation or was it too long winded?


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## Sid James

I did read your explanation but I didn't follow along the way you explained it. I might do that the next time I listen. The first time I listen to a piece I just do it naturally, without much heed of an explanation, but reading other people's responses, I was kind of hanging out for the Mozart reference (& of course, it came).

About Aramis, gotta love the guy, only in a post by him can Oscar the Grouch, The Who and Beethoven be mentioned in the same breath...


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## violadude

Sid James said:


> About Aramis, gotta love the guy, only in a post by him can Oscar the Grouch, The Who and Beethoven be mentioned in the same breath...


Ya.....hopefully next time he does that it will be a bit more coherent...lol


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## Aramis

violadude said:


> Uuuhh ok......so how do I "dive deep into the waters" with my compositions then? What would you recommend?


http://www.amazon.com/U-S-Divers-Me...=sporting-goods&ie=UTF8&qid=1319013282&sr=1-5


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## Klavierspieler

violadude said:


> Thanks....I think lol


I just mean that it's not in my favourite style, but I can tell that it is well done.


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## kv466

Also, I did not read the preface but you know what,...I think you piece is quite good!

It is haunting and while it sometimes goes where I know it's gonna go, at others it surprises me entirely...so, unlike the Kittie, I both think it is very well composed and I enjoyed it very much. So much, it is on my playlist and I intend to hear it many times over.


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## Polednice

I finally got round to listening to it Mr. Viola Man. 

Well, well, well! First of all, I should say that I did use your explanatory notes while listening. My brain has not been sufficiently exposed to music of this nature to make the harmonies feel natural, so it is incredibly useful to know your intentions for each section.

My immediate thought was that the structure and conception of the piece are wonderful. Certainly not a set of variations in the traditional sense, but you make good use of a concentrated amount of thematic material. My sense of the piece had me thinking that 'Atmospheres' would be a more appropriate title, because I very much felt the music was delineated in the various sections rather than leading into each other, thus making them more discrete than would be typical of true variations (this is no bad thing, just an observation).

Regarding the notion of atmospheres, I think your varied uses of performance techniques, compositional techniques, and also of different styles of music (tonal/atonal etc.) made for an interestingly varied, engaging piece, with a large palette of colours. I kept thinking to myself: "this one will probably be my favourite - I like the atmosphere of this" only for the next one to seem even better! I think it was perhaps because the contrasts are so well done; creating distinctive moods.


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## GoneBaroque

Very good composition. You have a fine talent. I think the ensemble of violas works very well. Congratulations.


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## violadude

kv466 said:


> Also, I did not read the preface but you know what,...I think you piece is quite good!
> 
> It is haunting and while it sometimes goes where I know it's gonna go, at others it surprises me entirely...so, unlike the Kittie, I both think it is very well composed and I enjoyed it very much. So much, it is on my playlist and I intend to hear it many times over.


Wow! What an honor to have my piece on someones playlist to listen to many times.  (non-sarcastic lol) I'm so glad you enjoyed it!


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## violadude

Polednice said:


> I finally got round to listening to it Mr. Viola Man.
> 
> Well, well, well! First of all, I should say that I did use your explanatory notes while listening. My brain has not been sufficiently exposed to music of this nature to make the harmonies feel natural, so it is incredibly useful to know your intentions for each section.
> 
> My immediate thought was that the structure and conception of the piece are wonderful. Certainly not a set of variations in the traditional sense, but you make good use of a concentrated amount of thematic material. My sense of the piece had me thinking that 'Atmospheres' would be a more appropriate title, because I very much felt the music was delineated in the various sections rather than leading into each other, thus making them more discrete than would be typical of true variations (this is no bad thing, just an observation).
> 
> Regarding the notion of atmospheres, I think your varied uses of performance techniques, compositional techniques, and also of different styles of music (tonal/atonal etc.) made for an interestingly varied, engaging piece, with a large palette of colours. I kept thinking to myself: "this one will probably be my favourite - I like the atmosphere of this" only for the next one to seem even better! I think it was perhaps because the contrasts are so well done; creating distinctive moods.


Thanks for your many compliments! I was a little bit nervous about your review Pole, as I know you aren't the biggest modern music fan. Glad you enjoyed it so much!


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## violadude

GoneBaroque said:


> Very good composition. You have a fine talent. I think the ensemble of violas works very well. Congratulations.


Thank you very much!  I'm glad you liked it!


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