Interland (6:59) - John Elliott
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Interland (6:59) - John Elliott

Description

18 April thru 31 May 2006 (off and on). MIDI-Contest: MidiEngine: SB Audigy 2 (WDM). Sequencer: Sibelius 4. MidiFont: Merlin Grand. Sections. There are 11 sections to this work, a reminder of the 11 intervals contained within the 12-tone scale. Section E stands smack in the middle and is the first restatement of the main theme following the developments and explorations after section A. [0:00] A (Main theme + a development): B Major. Più lento, q = 88. The main theme (incomplete) is quickly stated and then just as quickly repeated in a developed form. This section ends abruptly with a 12-tone chord that is neither resolved to nor from, thus isolating what came before from what is now to come. [1:00] B (Exploration of divided intervals): No key. A tempo. With tonality effectively blown away, the RH begins with all it had initially: the intervals of m2, M2, M3, P4 & P5—the intervals of the original theme. This leaves the LH, which was virtually silent during the theme’s statement and development, with the remaining intervals: m3, A4, m6, M6, m7, M7. The feet/pedals have access to all the intervals. The feet and hands explore the intervals in a subtly ever-changing pattern of 5 intervals (RH) against 6 (LH). They find a connection with the feet/pedals, coming together more and more in unisons and P8s. These sections are initially episodic, at first ending abruptly but growing towards conjoining transitions. [1:41] C (Variations on 5 against 6 #1): No key. A tempo. This section further develops the 5 against 6: initially in isolation—6 notes from the LH, then 5 from the RH—then in 5 against 6; they come together in a three bar chordal arrangement (5 chords or intervals in the RH, 6 in the LH). The feet get a rest during most of this. Though this sections ends rather abruptly, its ending is foreshadows by a two bar ritardando. [2:00] D (Further explorations of intervals, attempts to recall the main theme): No key. Lento, q = 66. This section begins with the feet only, exploring the semitones in a P5 in a repeated four bar motive. Then the LH begins a fragmented accompaniment, making both stabs at the original theme as well as it’s own intervallic version of the feet’s motive. When the RH enters, it plays ornamentally, chord+ intervals. Both RH and LH are now playing some of each other’s intervals also. [3:31] Transition A. Section D ends but there is a five bar transition to the next section. [3:52] E (Scorrevole): No key. Largo, q = 50. The LH now plays a scorrevole (in a flowing manner) accompaniment using only its own intervals under the RH’s restatement of the main theme (also played in a more flowing/glissando manner). The harmonies are heading toward the key of B Major. [4:16] Transition B. Also scorrevole. This section ends with an arpeggiated/held rendering of a 12-tone chord, which connects to a restatement of the RH and LH’s intervals, ending on the note B. [4:41] F (Variations on 5 against 6 #2): No key. Più lento, q = 88. With a variation in the pedal accompaniment (which rhythmically and intervallically gives a fragmented restatement of the main theme), this section is a restatement (RH and LH) of section C. This connects to a short, somewhat transitional, Maestoso (march). [5:07] G (Maestoso): No key. Maestoso, q = 70. The main theme is once again re-presented, now curtly in a Baroque-ish arrangement. Leading into this section, each staff (LH then RH then feet) individually changes to the key of E. This Maestoso transitions directly to the next section via ritardando and a repeated motive. This section is as close as this piece gets to a "complete" rendering of the main theme. [5:24] H (Three-Part Round on the main theme): Key of E Major. Largo, q = 66. This section is a three-part/voice round of the main theme. This transitions to C Major while it accelerates directly into the final section. [5:45] I (Main theme, restated): Key of C Major. Più lento, q = 88. The theme is restated (still incomplete) one last time, now in the key of C (will we ever get back to B Major?). In the closing four bars, the piece cadences back to B Major—but with a twist, for it ends on the sixth of B Major, the G# minor chord, an A4 below/d5 above the tonic of C.


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