Peebles Composition #2

Epilogue

Epilogue to Through the Looking Glass (last two stanzas)

In a Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:

Ever drifting down the stream --
Lingering in the golden gleam --
Life what is it but a dream?

Lewis Carroll

The text expresses a surrealistic attitude to life, but at the same time there is a hint of nostalgia. To express this dream-like state, I used subsets that contains the augmented triad, a triad that sounds non-committal since is does not belonging to any diatonic system. I also wanted to emphasize interval class 1 to create a sighing motive to illustrate the nostalgic remembrance of summer past. The first two tetrachords of this row belong to set-class [0148]. Also contained in this tetrachord is [037]. Because it is impossible to create a derived row from tetrachords that contain interval class 4, the last tetrachord is a member of [0347]. The first and last hexachords are both members of [013458] (a set-class that is self-complementary), allowing the possibility of hexachordal combinatoriality between two P rows.

The vocal line begins with the row P₂ to set the first stanza of the poem. Supporting the vocal line, the piano plays I₂. This row allowed me to create vertical augmented triads [048] as well as half step clusters [012] between the piano and vocal line, while beginning the composition with the same pitch class in both parts. In the next stanza, the vocal line expressed R₂, whose starting pitch class is the same as P₂’s concluding pitch class. Going through the row backwards will allow me to conclude with the dream-like [0148]. The piano will play I₀, whose pitch classes allow a fuller expression of the augmented triad at the beginning of the second stanza.

Texturally, I used a melody and accompaniment texture. The opening of the piano creates a waltz feel (boom-chick-chick). This rhythmic pattern remains throughout, although it goes through some minor alterations. In mm. 9-10 the waltz pattern is stretched over two measures, painting the text "Lingering." 

Each phrase is shaped similarly. The basic shape of each phrase is to begin with a louder dynamic and faster tempo, while the end of each phrase grows softer and slower. Again this is to capture the nostalgic character of the text.