Uploaded on May 9, 2017
I've had a nutty idea for a while. Some sonata-allegros go into remote keys in the second theme group of the exposition (*cough* Beethoven's Waldstein Sonata 1st movement *cough*), and the very occasional sonata-allegro even goes into a remote key in the second theme group of the recapitulation (*wheeze* Beethoven's Piano Sonata No. 18 in E♭ major, Op. 31, No. 3, 4th movement *wheeze*). So why not keep the second theme group tonal, but make the first theme group atonal?
I have trouble writing atonal music--my brain keeps trying to extract as much of a sense of key as possible from music--so the final spark that inspired me to write this piece was that I didn't have to restrict myself to pitched instruments for the atonal first theme group.
Yup, the first theme group of this sonata-allegro involves purely a drum kit. It's one long drum solo.
The bridge introduces the glockenspiel and involves a lot of diminished sevenths. The diminished sevenths are meant to sound rather atonal but actually be a chain of secondary dominants.
The second theme group is in G major in the exposition and C major in the recapitulation, behaving rather like this sonata-allegro should be in C major.
The development wavers between more (technically atonal) drum solos and pitched music from the glockenspiel.
The second theme group's habit of spamming parallel fifths is influenced by Alberto Ginastera's early works. He's my favourite atonal music composer so far because of his great sense of rhythm and energy (even though I generally don't like atonal music, especially since I often can't remember how to hum their melodies).
Shoot, Bars 36 and 44 sound like the Toad Town theme from Paper Mario (by Yuka Tsujiyoko and Taishi Senda).
Playback-wise...just assume that the drummer can crescendo and decrescendo better than Musescore's player will in those snare drum rolls, OK? And yes, this is another one of those pieces where the drum kit needs a double bass pedal (or two bass drums).
I had to widen the distance between staves again for this piece. I had big trouble keeping everything from colliding into each other in the first line without making the blank glockenspiel part appear there. Eventually, I relented and let the blank glockenspiel part make the spacing good near the title.
All these mixed meters, key shifts, and drum kits make me wonder if this is a progressive rock sonata-allegro or if it has too many influences from other genres instead (such as New Age and classical).
|Part names||Percussion (2)|
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