Promotional Single: Specifically Proceeds

Sinlged Out Track Information

This track takes key instruments of the orchestra and juxtaposes these instruments with elements of the electronic dance genre Hip-hop. The intentions are to allow each timbre to hold a clear thematic role within the whole piece, not allowing for either to dominate or mask the other in an unnatural way. Additional to this I have also considered the possibilities of this being played by a modern school band.

Specifically Proceeds (Single Version)

Using the same process as the some other productions using simular tibre the first mix is a backbone, from which other remixes are created. At the offset the Clarinet opens the piece before being joined by the Cello that plays an accompanying role to the clarinet. The positioning of the cello (in regards to its frequency position) is deliberate as before writing began, I had a clear idea as to what each genre would be placed like in the final mix. Although played in triads the introduction of the string section can been seen as a counterpoint to the clarinet. For this reason the scoring has avoided successive quavers, doing so would have resulted in the perception of additional harmony.

A third melodic part is introduced as the second string enters in unison with the bassoon. This melodic part is used as part of the preparation for the solo that follows this section. Before arriving at the solo, the perceived motion of the triads rising and the third melodic parts perception of falling have allowed the solo's melodic piece to evolve from the centre of these elements. This style of arrangement prevents the additional melodic solo from sounding as if it has just appeared, allowing the piece to flow smoothly from a dense overall sound to single timbre. To allow this effect to continue as the solo finishes and the transition take place, the first melodic bass part is introduced two bars before the following section begins.

Unfortunately most dance genres are limited in their description to percussion elements (that is to say melodic parts are normally transferable from one genre to another due to the strict four-four patterns). Keeping to my original objectives I have tried to expand in an innovation fashion the way that in which I have scored the percussion and the timbres used.

Where normally an electronic snare would have been used, I have chosen to use a snare drum timbre similar to that found on any standard drum kit. The shakers also take the place of what would normally be a hi-hats scored in sixteenths. If a shaker was not available, I as the composer would imagine the performer(s) to use a bag with small plastic objects (Scrabble pieces for instance) to gain the same effects. The piece from here reintroduces the elements of the first section while adding addition electronic timbres. Although not standard synthesizer sounds the timbres used in all electronic parts could be easily exchanged for other instruments on keyboard. To enable this, when developing sounds to use in the project I have chosen simple timbres that are concerned mainly with their frequency position. The only exception to this is the hi-hats that are used for their colouring qualities rather than an additional rhythmic element that would normally be associated with this percussion part. However a degree of motion is added by the inclusion of the final percussive instrument the tambourine. Its role is to enable a perception of articulation to be felt within the overall tempo, without actually changing the tempo. To avoid destroying this effect the crash cymbal is not used, doing so may have suggested a more defined order rather than the required continuous motion.

The finale of the melodic parts brings a crescendo to a conclusion by using a flute (or piccolo). It is essential for such a high registry timbre to be used so as to be clearly heard above all the other present timbres. As part of the crescendo the scoring used a mixture of quavers and semi-quavers, a change however in the scoring take place as the flute dominates the coda; playing in a slower fragmented way.

Specifically Proceeds (School Room Mix)

Starting as the Single mix, the first new elements of this version are introduced in the form of percussion. A hard punchy bass kick now takes the place of the softer kick used in the Single mix. These changes in percussion continue with the addition of a reverse hi-hat and ride cymbal. The snare has also altered in timbre using an electronic 'shhh' sound to imitate a snare drum, while adding a Phasor plug-in to the process to keep its dynamic movement constant. As the piece progresses from this point all the other elements (minus the flute) are entered and removed from the mix until the melodic part of the triads (strings) stop. Preparation for the following section takes place with the percussion taking on a coda feel which enables the section to almost come to a complete finish allowing the final additional timbre element to be entered.

As this sound is isolated it's presence is felt more and gives the mix a sudden change in direction. The change allows from this point for each of the thematic elements (melodic and harmonic) to be introduced in such a way that they are clearly the dominate part when entered into the mix. This approach to the arrangement continues until all parts have been introduced, from this point the instrument count is reduced over a period of /// bars before reaching its conclusion.

Specifically Proceeds (Scissor Mix)

The second of the remixes aims to enhance the euphoric nature of the piece while at the same time developing aspects of the mix further. At times during the piece the development has also altered the perceived thematic role the instruments play. The percussion in this piece therefore has been important in creating articulation, needed to achieve a sense of euphoria. The snare in this version has been assigned a large amount of reverb so as to create and enhanced sense of perceived depth, allowing other instruments to occupy a perceived space. This has been achieved by using slight variations in panning, with some parts being duplicated so as to enable a two separate panning movements to take place; in effect adding a sway motion to the spatial area between the two speakers. The percussion reaches its peak at approximately 1min 40sec, from this point the piece takes on an ambient style while suggesting a sudden change of dynamic level is imminent.

The mix titled Scissor mix is obtained by the timbral nature of the reverse cymbal. When separated they act as part of a pivot point to the arrangement giving a timbral impression of cutting, enhanced further due to being scored on the offbeat. Their presence is kept from this point until their removal when the percussion begins preparation for the coda by suggesting a more central spatial point is being reached. The final addition to the composition is in the form of a melodic part scored for English horn. With it being a reed instrument the removal of the clarinet has allowed a pleasant contrast between the bassoon and the horn to take place, adding a slight perception of articulation as one takes the perceived lead from the other. The coda takes two parts from the Single mix that when isolated give an impression of old England using a flute to add a cadence feeling to the ending.

Conclusion

What was most musically stimulating from the composer's point of view was how easily I could imagine this piece to be played by a school band. The inclusion of electronic instruments has added an extra modern edge to the piece while keeping its construction relatively simple. The remixes show further how versatile electronic music can be when scored with real instruments in mind; one imagines the electronic timbres colouring the areas of the piece that an orchestra could not achieve.