I disappeared for a bit. Not happy about that life was pretty intense on the conducting side for a while. But I am back composing again. I think My Do Not Stand setting is going to be pretty doable to write. In college I wrote this piece that was balancing low octaves against plaining chords of stacked fourths. All white notes, so sort of in C. The way to do this is you are guided by the tune, which is the sop, and let the other notes fall wherever they do but since there is a logic behind that you get functional harmony, more or less. It’s impossible to hit a wrong note, unless it’s a wrong melodic note.

One issue here is that this texture works well with three voices and sounds a bit thin. What I think I might do is write it for 6 voices and have a sort of double choir echo thing going. That will make it pretty lush. This stacked forth structure doesn’t lend itself to word painting all that easily, at least for me, so I’l be writing a poem that is dying for word paining that isn’t actually doing much of it at all. I think that’s allowed.

One way I can word paint is to occasionally break up the stacked forth chords and shift thing a bit so that you cadence on a major chord. This makes a major chord a big deal.

I could also make this a brain crusher by having things modulate from all white notes to anything that is not all white notes. I’ve played around with that and it’s hard to control. I figure I might as well not drive myself crazy to make something less audience friendly. This is already challenging enough because I’m not using normal harmony, at all.

So I just had a decent sit down at the piano going through the words which I printed in somewhat giant letters and placed on the piano and then paced proudly around the house fora minute with a sense of accomplishment.