The Video I composed to without sound (below): Please see bottom of page for video with composition attached
Scores:
Temporal Distortion Full Score
Temporal Distortion Score – Piano
Temporal Distortion Score – Violin I
Temporal Distortion Score – Violin II
Temporal Distortion Score – Viola
Temporal Distortion Score – Violoncello
Beth’s Theme (Temp Score) – Full Score
Beth’s Theme (Temp Score) – Piano
Beth’s Theme (Temp Score) – Viola
Beth’s Theme (Temp Score) – Violin I
Beth’s Theme (Temp Score) – Violin II
Beth’s Theme (Temp Score) – Violoncello
Evaluation:
This composition was created to a moving image. This means it is a video with no sound. We worked with a temporary (temp) score to start with, which was Beth’s Theme by Ólafur Arnalds from BBC’s Broadchurch. I followed the same instrumentation as this score to create a new score to go with the video. I also took the continuous quavers in the piano and added that into certain parts of my score to create a fuller sound. This paired with a range of dynamics creates a lot of expression and feeling throughout the piece.
My score is written in D♭major. It uses chords G♭major (chord 4) , E♭minor (chord 2) , F minor (chord 3) and A♭major (chord 5) in section A. This section originally had another E♭minor chord as the last chord but I changed it to an A♭ major as this made more sense due to the fact this piece’s tonality is major. In section B this chord progression changes to D♭major (chord 1), B♭minor (chord 6), A♭major (chord 5) and E♭minor (chord 2). This section was originally going to have the A♭major and B♭ minor chords the other way around and ending on another A♭major chord but I decide that this did not sound musically correct and I therefore changed it to the new chord progression. All of these chords are part of the D♭major scale.
The introduction starts with just the chords on limited instruments so that there is an opportunity to build on the ideas and instruments provided and give a climax to the song at the end of the A section/beginning of the B section. As the A section begins, the right hand piano takes the melodic line as violin 1 and the left hand piano are playing the harmony (chord progression). Slowly, there are more instruments introduced, starting with the viola in bar 17, followed by a new rhythm in both piano parts, then violin 2 in bar 33 and finally the cello (violoncello) in bar 45. This all builds towards the end of section A.
During the last 4 bars of section A, I used a diminuendo (decrescendo) to bring the section to a close and give me an opportunity to introduce the next section in both ideas and dynamics. Before these are increased again in the 5th bar of the B section.
This time, the cello (violoncello) becomes the main string instrument for the majority of the section. It takes the viola part from section A and transposes it onto the cello part. This basically plays the root and the fifth note of each chord and plays them as minims.
Briefly, the violin and viola plays notes of the chords mostly in semibreves and arpeggiates them for 8 bars on the violin at a forte dynamic but then it returns to chords before dropping out completely.
Another change in this section is that the piano part starts to return to its old rhythms. Changing from continuous quavers to crotchets and finally playing an outro of block chords using semibreves. This is faded to pianissimo (pp) by using another diminuendo.