Approaches to Contemporary Composition Summative Composition 1: 12 Tone Serialism Contrapuntal Claustrophilia for Two Conflicting Clarinets by Francis Mullaly

Performance otes:
Throu!hout the piece" both clarinets shoul# $eave seamlessly in$ar#s an# out$ar#s %preferably $ith both players enclose# $ithin a small area to provo&e temperamental musical ar!uments'" $hilst maintainin! a slo$ an# a!itate# atmosphere( )oth parts shoul# receive e*ual prominence an# e+posure throu!hout the piece( Subtle attention shoul# also be pai# to$ar#s sli!ht chan!es in #ynamic an# the intention of portrayin! an# elon!atin! silence as an anti#ote to the internal musical conflict that ta&es place throu!hout the piece" as there is a stru!!le for #ominance( ,mphasis shoul# also be ma#e on creatin! a sense of le!ato phrasin! to contrast $ith the star&" punctuatin! articulation that #efines the a!!ression in some phrases( Much rhythmical in#epen#ence is !iven to both parts to e+pan# an# #evelop their !iven motifs" $ith the occasional use of acciaccaturas an# syncopation for an a##e# melo#ic flavour" in a##ition to e+ploitin! the -u+taposition of the #ar&er chalumeau re!ister simultaneously $ith the upper clarion an# lo$er altissimo re!isters in the other part( The piece is set in re!ular sets of 2 an# . bar phrases" $hich utilise the full tone ro$s $ithin that phrase / in combinations of the ori!inal tone ro$" in inversion" in retro!ra#e or in retro!ra#e inversion( S$ells are inten#e# to be emphasise# throu!hout all the phrases to #efine the shape of the phrases( The openin! A section consists of an openin! set of 0 bars that forms the basis of an e+ten#e# ) section" %bars 1/22'" before conclu#in! $ith a revisit of the openin! A material" in mo#ifie# form" in bars 22/.3(

Approaches to Contemporary Composition Summative Composition 2: Mathematical Composition A Calculated Encounter in Seville by Francis Mullaly
Performance otes:
Maintainin! a Spanish" tan!o/es*ue feel to this piece for violin" flute an# piano is essential in conveyin! the character of the piece( 4#eally" the performance space $oul# be set up #ramatically so that both soloists %the violin an# flute' $oul# be facin! each other an# circlin! roun# each other in a performance space" $hilst the piano maintains the almost palpable tension associate# $ith such a situation( The t$o soloists essentially perform a #uet" full of passion" spice an# se+ual tension( The lyrical melo#ic motifs &eep recurrin! in #evelope# forms as the piece continues" as the piano plays a static" repeate# set of minimalist" sparse arpe!!ios to create a sense of unease throu!h this 5calculate# encounter5( The yearnin! motifs playe# by the violin an# flute in combinations of thir#s an# si+ths inclu#e e+ploitation of scalic passa!es" imitation of i#eas an# lu+urious trills" in contrast to the triplet sections" yet still maintainin! a #elicate le!ato( This #ramatic #uel finally en#s $ith a !rin#in! to a halt" as the rallentan#o culminates $ith a $arm tierce de picardie to sho$ the lovin! en# to a #ramatic situation(