Some transitions contain their own melodic material, use material already presented, utilize upcoming material, or both. And this begins to blur the boundary where one section starts and the other begins.
If you want to delay the presentation of the melody in the next section, one technique the composer can use is to copy and repeat a fragment of the last phrase to lengthen it, so that the phrase doesn’t end where the listener expects. The composer can also perhaps transpose the fragment on each repeat. This is more properly an extension than a self contained transition but the effect on the listener is the same. It contains some melodic or rhythmic tension creating the expectation that more music is to come and helps freshen the listener’s palette. Perhaps it could be inserted between a verse and chorus that have already been repeated one time so that the chorus doesn’t start where the listener expected it, adding a bit more entertainment value to their experience, mitigating the boredom of repeating things exactly as before and keeping your listener focused on your music. Here is an example.
Another simple transition is to present some of the material prior to the arrival of the rest of the material such as playing a new accompaniment for maybe 1,2 or 4 measures before the melody returns, either presenting the old melody again in this new setting or creating an entirely new melody.
A transitional technique that does not create its own defined section of the music is the use of elision. Elision is when one melody starts just as the previous one ends. Below is an example.
The method of overlapping the previous melody with the next to some degree is another technique. Below is one way it could be played out.
We could have started with the triangle phrase instead which would have let the square phrase have the final say. That may have been better since it ends on a strong rhythmic position but only if you hear the tonic pitch as F. Ending on D as I've done above forces the ear to accept D as the tonic pitch.
An interesting way of creating a transition is to switch between parts of the previous phrase and parts of the upcoming phrase like this:
I chose to alternate on every beat starting with the triangle phrase because this produces the least number of leaps only jumping a fifth between a beat from the square phrase to a beat from the triangle phrase between the second and third beat of the third measure. If I had started with the square phrase, it would have come to a screeching halt on the triangle phrase's quarter note containing pitch D but it doesn't occur repeatedly and it occurs near the end (on the first beat of the fourth measure) and is a natural resting place to interrupt the technique to end the phrase because we don't want to be mindlessly or heartlessly adhering to a technique. The technique is there to serve the ends of the composer. The reason the composer is there should not be to serve the ends of the technique.
The natural evolution of this method is to reduce the length of the previous phrase until it is phased out completely. Here I continually add more of the end of the triangle phrase until all of the square phrase is completely replaced.
I could have started with the square phrase first but that creates even greater leaps in the melody although the intervals it produces are less offensive than the leap of a seventh that occurs between measures six and seven that was presented above. Of more concern to me was the constant stall in the rhythm that is created by stopping on the single quarter note coinciding with pitch D in the triangle rhythm followed by a quarter note rest before the phrase can finish.
Another transition is to interrupt in the middle of a repeating phrase.
ไม่มีความคิดเห็น:
แสดงความคิดเห็น