Reworking OK Computer --- Pt. IV
Continued from:
Free Play
The free play this time around is simple. Whereas in the last example, I harmonized the melody using waltz-like chords and inversions, here I took a page out of the Beethoven Sonata in F-Minor and Liszt’s transcription of the Marriage of Figaro, employing rocking back and forth chords that change at regular intervals. I then, gracelessly, to a certain extent, played arpeggiated harmonies that started in the low bass and carried over into the upper registers while the melody continued. I then, admittedly, attacked the keyboard in a largely failing effort. This free play was simple, but, for me, it helps to make these little attempts and to incorporate them into an expanding arsenal of improvisation. These rocking back and forth chords are a trifle muddying, but they can produce a robust texture. These last two examples have been no more than textures with direct harmonic accompaniment. Going forward, I will attempt to modulate the musical material into other keys.
Here is an excerpt from the Beethoven Sonata:
Here is an excerpt from the Marriage of Figaro:
The Score So Far
Pg. 1
Pg. 2
Pg. 3
Pg. 4
Notes, Demonstrations, and Studies
The Work
The relevant portion of work for this article is the portion noted with the B section marker that starts on page 2 and continues onto page 3. This is a complete notation of a reworking of Airbag. Would it earn me an appointment from Duke Johann Ernst III? Well, no. It does, however, represent the first time I have notated an entire musical piece in a document that was interesting to work out, that can be improved upon, and that will be useful and accessible to me in future. That is the point of these articles, so I can say that I am satisfied, even though I know the lack of polish does me a disservice. When it comes down to it, I would prefer to simply work on my repertoire, as it can be refined to the point that it impresses others. For myself, however, I know that this unruly practice will pay dividends.
This reworking of Airbag is repetitive, not terribly interesting harmonically, and represents a more or less straightforward harmonization of the musical material of the song. It does not modulate, but I will be working out modulations for OK Computer’s second song. I also worked somewhat on the counterpoint presented in the previous article. I have begun a four-species counterpoint, but it is not entirely developed. I hope to present more of it in the next article. I will also likely be improving upon the score for Airbag as time goes on. This project has caused me to reflexively consider the music when I am away from the piano and the score. I hope that consideration translates to paper and pencil.
For the time being, I only present slow recordings of a few sections that have a modicum of merit.
The Opening
.
The Guitar Part
From the Record
I decided not to record the piece as a whole, as parts of it lag, or are otherwise utterly bereft of interest. I will simply make up for the failings here in my reworking of Paranoid Android. Getting the score to this point revealed many faults of notation, rhythm, and fidelity that, past a certain point, I felt were more or less baked into this score. They will be top of mind going forward. As dissatisfied as I am with the score, and as frustrating as this work is, the process is, in its limited scope, working. Very small insights into the composition of my repertoire pieces dawn on me while I practice. I intend to revisit my score for Airbag periodically in order to make the improvements in compositional technique my continued practice produces.