Detailed notes on each variation by the composer: Var. 1 (Prelude) is in ABA form. The A sections make use of the accompaniment patterns in different meters. The B section is based on the original sequence of notes in the theme, but rhythmically varied. The sound used for the rising melodic segment at the end of this variation is a reference to Cootie Williams, a prominent trumpet player associated with Duke Ellington and co-composer of Round Midnight. Var. 2 (Holographic Wave Patterns) is in a simple Rondo form. All elements are supported by a bass figure in seven/four that is consistent throughout. The slow melodic lines with a vocal sound is the theme in inversion and at the end, retrograde inversion. It is in augmentation throughout. Alternating with the thematic element are periods of freely composed two-voice sixteenth note patterns that compete for attention between themselves and the bass figure. A brass timbre is used, and their polymeric juxtaposition creates a forward moving tension. The coda is a compressed rondo alternation that ends abruptly. Var. 3 (Interlude) uses the pitch sequence of the melody in retrograde, rhythmically altered. The form is roughly A A B C D A. The A sections are simple two-part presentations of the theme in a minor. The B section is a contrast without tempo, just slightly changing timbre. C and D are other presentations of the same theme but with a different harmonic accompaniment. Var. 4 (Lines) features the steady eighth note alternating pitches of the theme's accompaniment. The different melodic and bass lines presented above and below it increase in complexity as the variation develops over time. This gives way to a coda simpler in texture that leads to a quiet ending. Var. 5 (Invocation) evokes mystery. The theme is presented transposed and accompanied by a slow, rhythmically unchanging ten-beat bass line. The bass line pitch patterns change, but not the rhythm. The other sounds are for atmosphere. Var. 6 (Polyphony) is a three-voice fugue. The subject is made up of the theme in retrograde with a new rhythmic profile. Var. 7 (Ghostly) is based on the theme's first eight pitches in retrograde and the same accompaniment figure used in Var. 4. It is dedicated (the only variation to have a dedication) to the memory of Candy Jernigan and is mournful. Candy was Philip Glass's third wife and probably his true twin soul. She was an artist and worked as a designer of book covers. She also made sets for theater, most notably those for John Moran's Manson opera. The art of Candy Jernigan was celebrated in the book, Evidence (1999) with an introduction by Stokes Howell and a forward by Chuck Close. Var. 8 (Land of Broken Chords) is an extended ABA form. The theme is presented in its original pitch sequence, but rhythmically varied for the A sections. These sections also feature accompanying broken chord figures in six-four. The B section uses the same descending figure found in Var. 7. The opening A section presents the theme in progressively imitative contrapuntal settings. The B section uses three-part polymeric note against note counterpoint with syncopated bass notes to set off the descending melodic figure. The closing A section sees a simple return of the theme and accompaniment and closes with with three sustained chords that are not broken. Var. 9 (Another Look at Counterpoint) is a three voice composition based on J. S. Bach's Fuga Canonica in Epidiapente from the Musical Offering. The title of the variation is a parody of Glass's Another Look at Harmony. The subject of the fugue is comprised of the theme in inversion, rhythmically altered. Var. 10 (Spooky Action at a Distance) takes its title from Einstein's description of the quantum mechanics phenomenon known as Entanglement. It is also a reference to Glass's opera Einstein on the Beach. This variation divides into six distinct sections: A B C B1 C1 A. Both A sections are comprised of the theme's accompaniment figure in a driving seven-four context. The B sections feature the voices of Philip Glass and Robert Wilson (in that order) saying that Einstein was a dreamer, assisted by a simple bass line and occasional punctuating chords. The C sections are fugatos based on segments of the theme. Var. 11 (Satisfaction Lies in the Effort, Not in the Attainment) takes its title from a well known quote from Mahatma Gandhi. Gandhi was one of the main characters in Glass's opera Satyagraha. The variation is a prelude and fugue, so is in two distinct movements. The prelude is calm and meditative reflecting peace. It is based on the theme's inversion. The fugue is more energetic and based on the retrograde inversion of the theme. It leads to a coda that brings back the accompaniment and the theme in a version close to the original statement. It ends in an enigmatic way reminding us that water is the symbol of spirit.
Detailed notes on each variation by the composer:
Var. 1 (Prelude) is in ABA form. The A sections make use of the accompaniment patterns in different meters.
The B section is based on the original sequence of notes in the theme, but rhythmically varied. The sound used for the rising melodic segment at the end of this variation is a reference to Cootie Williams, a prominent trumpet player associated with Duke Ellington and co-composer of Round Midnight.
Var. 2 (Holographic Wave Patterns) is in a simple Rondo form. All elements are supported by a bass figure in seven/four that is consistent throughout.
The slow melodic lines with a vocal sound is the theme in inversion and at the end, retrograde inversion. It is in augmentation throughout. Alternating with the thematic element are periods of freely composed two-voice sixteenth note patterns that compete for attention between themselves and the bass figure. A brass timbre is used, and their polymeric juxtaposition creates a forward moving tension. The coda is a compressed rondo alternation that ends abruptly.
Var. 3 (Interlude) uses the pitch sequence of the melody in retrograde, rhythmically altered. The form is roughly A A B C D A.
The A sections are simple two-part presentations of the theme in a minor. The B section is a contrast without tempo, just slightly changing timbre. C and D are other presentations of the same theme but with a different harmonic accompaniment.
Var. 4 (Lines) features the steady eighth note alternating pitches of the theme's accompaniment.
The different melodic and bass lines presented above and below it increase in complexity as the variation develops over time. This gives way to a coda simpler in texture that leads to a quiet ending.
Var. 5 (Invocation) evokes mystery. The theme is presented transposed and accompanied by a slow, rhythmically unchanging ten-beat bass line.
The bass line pitch patterns change, but not the rhythm. The other sounds are for atmosphere.
Var. 6 (Polyphony) is a three-voice fugue. The subject is made up of the theme in retrograde with a new rhythmic profile.
Var. 7 (Ghostly) is based on the theme's first eight pitches in retrograde and the same accompaniment figure used in Var. 4.
It is dedicated (the only variation to have a dedication) to the memory of Candy Jernigan and is mournful. Candy was Philip Glass's third wife and probably his true twin soul. She was an artist and worked as a designer of book covers. She also made sets for theater, most notably those for John Moran's Manson opera. The art of Candy Jernigan was celebrated in the book, Evidence (1999) with an introduction by Stokes Howell and a forward by Chuck Close.
Var. 8 (Land of Broken Chords) is an extended ABA form. The theme is presented in its original pitch sequence, but rhythmically varied for the A sections.
These sections also feature accompanying broken chord figures in six-four. The B section uses the same descending figure found in Var. 7. The opening A section presents the theme in progressively imitative contrapuntal settings. The B section uses three-part polymeric note against note counterpoint with syncopated bass notes to set off the descending melodic figure. The closing A section sees a simple return of the theme and accompaniment and closes with with three sustained chords that are not broken.
Var. 9 (Another Look at Counterpoint) is a three voice composition based on J. S. Bach's Fuga Canonica in Epidiapente from the Musical Offering.
The title of the variation is a parody of Glass's Another Look at Harmony. The subject of the fugue is comprised of the theme in inversion, rhythmically altered.
Var. 10 (Spooky Action at a Distance) takes its title from Einstein's description of the quantum mechanics phenomenon known as Entanglement.
It is also a reference to Glass's opera Einstein on the Beach. This variation divides into six distinct sections: A B C B1 C1 A. Both A sections are comprised of the theme's accompaniment figure in a driving seven-four context. The B sections feature the voices of Philip Glass and Robert Wilson (in that order) saying that Einstein was a dreamer, assisted by a simple bass line and occasional punctuating chords. The C sections are fugatos based on segments of the theme.
Var. 11 (Satisfaction Lies in the Effort, Not in the Attainment) takes its title from a well known quote from Mahatma Gandhi.
Gandhi was one of the main characters in Glass's opera Satyagraha. The variation is a prelude and fugue, so is in two distinct movements. The prelude is calm and meditative reflecting peace. It is based on the theme's inversion. The fugue is more energetic and based on the retrograde inversion of the theme. It leads to a coda that brings back the accompaniment and the theme in a version close to the original statement. It ends in an enigmatic way reminding us that water is the symbol of spirit.
Impressive! Thanks, that will be part of my daily walk
Borden, the underappreciated genius. Is it possible to upload parts 2, 4 of his animated counterpoint score?