

Sketchbook - Comp.B Ideas

        
  
            
   
Adagio 3


3 2 3
3
IDEA 1

    
Using the intervals to
create a monophonic   


melody, over a variety
of rhythms and shapes

        
         
        
4 5 6


3

   
3



                        
    
          
7 8 9 10

 
3

    
 


            
Same Tempo

  
3 2
IDEA 2

            3
Focusing a more flowing

   
rhythm, I added a second


part, which is a non-literal


inversion one beat after the



original. Some changes in
rhythm to make it more


3 3

 
interesting

                   
       
3
3 4 5

    
3


       
            
     
3
3


                
3

 
3 3

   
6 7

               
     

    
2

      
    
8 9
3


         
 
 
  
   
3


    
       
10 11 12

                  
        
3 3

3 3


 
 
 
            
  
Allegretto

   
               
3 2
3

 
3 3
IDEA 3
Combining both pitch and
rhythm elements. Using the

          3   3 
3 3
same notes as before, but 3

     


           
applying to rhythm. Also 3


3 3


   
changed mood and tempo,


and added bass line in similar
rhythm.
3

         
            
                

4 3 5 3 3 6 3

 
3 3

       3 
 3  
3

     
 

 
        
3

       
3
3 3





                        
    

  

   
7 8 9

  
3

      
   
3 3

    
3 3 3

 
3

  
3

  
 3

      
3








3
 
3

                                
Lento 2 3 4
IDEA 4
Using the open 5ths as a drone

  
as the inner voice uses a mixture

  



of the original theme, inversion
plus use of thirds to create inner
melody. Also exploration of minor


key setting

                   
5 6 7 8

  
 

 
         




                    
9 10 11 12 13


  
      
 



                         
Vivace 2 3

         
IDEA 5

 
Exploring Idea 4 in a major

 
setting, whilst also trying out 
a different mood and modes
(more rustic, lydian)


                         
4 5 6 7

  
   
                


 


 9                 
       
8 10 11

 
         


  


   
 

4

        
   
Allegretto 2 3
3
IDEA 6

         
Counterpoint between the open

     
fifths and inner part. Using both

   
3 3


literal and inversion of rhythmic 3 3


3


3
idea simultaneously to keep
rhythm going

  
                 
3 3 4 5
3

     
3 3

  
3

   
 3

             
    
3

 



3 3 3 3

3  
             
    
    
6 7 8 3

 
3

3 3


3 3 3
3

     



                      
3 3 3
3 3

   
3 3

  
 


3

 
9 10

     


              
3 3

    


  


 
                     
6
Grave 3

  
2

  
  
IDEA 7

  
     
A more programmatic concept,


   


where the two voices are playing


'cat and mouse' up and down the


keyboard (exploring range)


                       


5

 
Faster

  
3 4

 
4

 
   

            
 3

     



  

  
  
   
  
5

    

3


5

      
       





  

 
3

   
         
6

 
   
    
      
       
 



       
       
7

       
 
                  
  


  
       
3 3
8 9

    
  
    
          



victoriously!!

       
Adagio 2 3 4 5

  
IDEA 8

  
                  
     
Another minor key sketch, where
the roles are reversed (the inner 

 
voice moves less while the fifths


move more frequently & faster).

               
   
6 7 8 9 10 11 12 13 14

            
   
                      
 

 
 
6

                             
Allegro 2 3 4

IDEA 9   

   
A perpetuum mobile, 

 
   
similar to the Idea 4.


                                          
5 6 7 8 9

  
   

 


     

 


            
                                
10 11 12 13 14 15

 
      