During this semester I was invited to analyse one of my own composition to better understand my technical-artistic composition development during the past years of studying. That sounds like a fascinating opportunity for self-reflection and artistic growth! Analyzing your own compositions can provide valuable insights into your artistic development over time. You can examine aspects such as your use of musical techniques, harmonic choices, melodic development, structural organization, and overall expressive intent. Pay attention to how your style may have evolved, whether you’ve incorporated new ideas or techniques, and how your compositions reflect your personal artistic voice. Additionally, consider seeking feedback from peers or mentors to gain different perspectives on your work. This process can be immensely beneficial in honing your skills as a composer and deepening your understanding of your own artistic path.
Common Speach is a piece of concrete music made during my first semester at IEM. As such, it reflects the techniques and trends of the French school of Schaffer.
The material used includes the recording of various concrete sounds with which I composed the entire piece. Through the techniques of cutting, reversing and pitching I combined the different sound objects to create others, studying the interaction between the different materials and how they behaved together, such as contrasts between iron and glass or plastic and water. The piece is based on the dialogue between the various objects that intersect in a wide stereo landscape, communicating through questions and answers.
The composition is divided into three sections, which are alternated by short breaks:
– 1st: 0´ until 1´04´´;
– 2nd: 1´04´´ until 1´58´´;
– 3rd: 1´58´´ until 3´12´´.
In the first section we listen to the combination of metal, produced by the rays of a bicycle, with a bunch of keys and the glass of a glass of wine. This section is characterized by the presence of melodic elements that follow one another within the discourse, merging with rhythmic percussive gestures.
The piece begins with a gesture made up of three elements that are articulated between them:
– glass (298 Hz);
– scotch;
– keys.
At the beginning a question is asked that finds an answer to the second 8“ and that develops for 18 seconds ending with a rallentando produced by the manipulation of the sound of the chavi. In this part we can analyze the glass/metal contrast reproduced by the rallentando elements that constitute the sound object.
In fact, it is precisely the metal that conducts the dialogue, merging with the glass that continues with much more harmonious and melodic gestures, with consonant spectrum.
In the ear stands out the intervention of a gesture more harsh in the low register ( 21´´, 25´´, 28´´) that concludes the three sentences that follow one another from the second 18´´ to arrive at the rallentando(28´´) that heralds the final cadence ( 39´´), closing the first section.
In the second section the material used consists of a coin thrown in an iron bowl, a box of paper and glass. In contrast to the first section, here we have the predominance of rhythmic elements that chase each other within the stereo landscape. Always through a dialogue of question and answer, the section does not explore the timbre potential of sound objects, but is limited to the search for their interaction over time. In fact, we find the presence of discontinuous and harsh sound spectra, which, intersecting, create a sterile plot with few musical hints. The only exception is the crescendo that starts at the minute 1´25´, which camouflaged by the beats, leads the piece into a crescendo/decrescendo that concludes the section.
In the third section the material consists of a plastic glass, a glass glass, coins and spilled water.
This part is characterized by the presence of textures that accompany the composition towards its end. Rhythmic and melodic elements alternate with a less frenetic and more dilated trend. Unlike the other sections, here we find the presence of a very specific melody that starts at the minute 2´25´´ and that brings the composition to an end.
