January 26

As my work this week was pre-compositional, both the instructor and my classmates' suggestions were based on my explanation of my planned orchestral work. They recommended that, in order to get a better sense of how all the parts are working together, I should compose the piece for one or two pianos (short score) and then orchestrate it. This was a technique used by Ravel, and I was therefore advised to look at his works. It was suggested that I examine Ravel's Daphnis and Chloe in particular, in order to help me find a way for the strings to imitate seabirds; George Crumb's Vox Balaenae was also recommended for this, as the cello's quite successfully imitate seagulls in the piece. One suggestion of a technique to achieve this goal was to have the violins doing a wide vibrato on the upper two strings with their fingers placed as though they were doing harmonics, but not on a node.

January 19

1. The main suggestion from both the instructor and classmates suggested that I examine the playability of portions of the piece. Ways to improve the playability of the piano include determining whether a black or white key gliss is desired and ensuring that intent is clear; changing the glisses to avoid having the arrival chord being played in the same hand as the gliss; and indicating that the beginning note of the gliss is to be held. Playability issues to be resolved in the cello include ensuring that large, fast leaps can be achieved using open strings; and that rapid passages fall in a comfortable range.

2. Other suggestions included varying the pattern of growth in the ostinato, using more rhythmic variation, and expanding on the interaction between cello and piano.

January 12

1. The primary suggestion from both the instructor and my classmates was to develop my ideas into a longer and more intense piece. Suggested methods of accomplishing this were to fragment and extend gestures, to use rhythmic development, and to explore a simultaneous playing between the two instruments. I have been working on applying these suggestions; since the development in this brief etude was minimal, I have a great deal of room for expansion into a longer piece.

2. Notational suggestions were made as well, and it was agreed that I need to provide more notational clarity for the piano glissando, by indicating an approximate starting pitch, and the cello glissando, by explaining that the player should shift from sul ponticello to regular bowing over its course. Other notational changes suggested in class that I am implementing include moving the cello above the piano on the page and changing accidentals for greater clarity. All of these changes will be included in the final version.

3. Musical suggestions included the addition of pedal markings, the use of two octave doubling, hammering notes in the high range for punctuation, and more eighth notes lower in the bass. All of these suggestions would increase expressiveness and intensity, and as I will apply these techniques to develop my motives.