Horizontal Color Forms
Notes and concepts by Steve Kornicki
Each of the HORIZONTAL COLOR FORMS (HCF) pieces
deals with the synergetic combination of individual parts composed
one at a time in a horizontal manner. These pieces all result from
pre-determined structures and processes that are the result of
improvisational composition using computer sequencing. The horizontal
aspect refers to the process of composing each line completely
through while being aware of the other parts, but allowing the
parts to be free of each other – a process of “real
time” composing and a certain amount of randomness. All of
the pieces’ initial pitch structures consist of 12-tone rows
(the arrangement of the twelve notes of the chromatic scale in
a particular order). These rows are chosen for their tonal relations
and combinations and are stretched out over long durations through
repetition of the individual tones (this repetition relating back
to Arnold Schoenberg’s original concept of 12-tone theory).
The resulting sound is of overlapping harmonic
textures that can be heard as an apparently static surface of sound
with a flux of textural elements and overlapping dynamic patterns
beneath (musical effects at particular points: crescendos, rhythmic
contrast, accents, instrument entrances, etc). These harmonic textures
create the color aspect of the music and are a constant flow of
transformation and change within this “stasis in motion”.
These qualities give the pieces an ambient sound that can be compared
to some 20th century minimal, early renaissance and baroque music,
serving on an intense appreciation level or as an environmental
experience. The self-similarity and ambience of the music may also
create a “suspended time frame” effect for the listener.
The following example is from the program notes
for Horizontal Color Forms #5 and demonstrates a process of pitch
construction that is applied to the HCF series.
Example: Horizontal Color Forms #5,
for 6 instrumental or vocal lines
In HCF #5, strict canon (one part exactly imitated
by another part) of the pitch material is utilized for lines one/two
and lines three/four for the duration of the piece: line two begins
4 measures after line one (line two playing an octave lower than
line one) and line four begins 3 measures after line three. HCF
5’s row structures use a cycle of 4ths using different starting
notes. Below are the pitch structures for the primary four parts:
Lilne 1 = F# B E A D G C F Bb Eb Ab Db – Ab
Eb Bb F C G D A E B F#
Line 3 = E A D G C F Bb Eb Ab Db Gb Cb - Gb Db
Ab Eb Bb F C G D A E
Line 5 = B E A D G C F Bb Eb Ab Db Gb - Db Ab
Eb Bb F C G D A E B
Line 6 = C# F# B E A D G C F Bb Eb Ab – Eb
Bb F C G D A E B F# C#
The parts flow through each of the pitches of
the 12-tone row with a varying number of repeats for each tone.
Once reaching the 12th pitch, the parts move in a retrograde or
reverse motion returning to the previous 11th tone and ending at
the starting note, as illustrated above, thus creating a closed
loop, “23-tone row” for the global structure. Each
tone is 3 ½ beats in duration at a tempo of quarter note
= 100-104. There are primarily 2-4 beats of rests between each
of the tones and dynamics consists of a rise-peak-fall pattern
throughout that is similar to a wave buildup and collapse. These
periodic and precise rhythms, together with the interplay of the
wave-like dynamics create a textural effect of contrapuntal interplay
between the tones.
Listen
to a
MIDI version of HCF #5 for flute, clarinet, violin, viola, 2
cellos and percussion (5MB MP3)
ANALYSIS
The system
of music composition that I developed in late 2004/early 2005
for the HORIZONTAL COLOR FORMS series displays clear and concise
processes that occur within the music. The pieces are about the
processes and reveal an obvious interplay of harmonic motion
through the layering of individual tones. Musical interest is
created through texture and dynamics. Harmonic motion is given
precedence in a manner that is actually heard and perceived by
the listener because of the “harmony generating” nature
of the compositional writing and process. The pieces avoid tertian
harmony in favor of a new harmonic motion created from the stretching
out of the 12 tones over a long duration. The HCF series can
provide a model for a new form of listening to music through
the purity of the compositional processes and the auditory effects
(i.e. the music is about the tones and harmonic motion).
Above text notarized in Pennsylvania – 5/23/05 |