Ordnas
This is Ordnas, a little “Grundgestalt” generated by the simple theme in this picture:
The structure and arrangement are perhaps the things that I like the most in this piece.
The theme is presented by electric guitar followed by tenor sax and clarinet; it's a 4/4 with a “comfortable” pace of 50 beats per minute.
The piece gets in full swing immediately afterwards, with piano, flute, double bass, drums, oboe and bass clarinet joining sax and clarinet, while the guitar leaves the stage.
The drums show a small change in tension: the piece becomes a little tighter here.
Modules 2. and 3. are re-exposed.
At this point, the piece becomes frenetic — the sax exposes a theme that makes me think of the circus, and of tango; as I said to a friend on Bida, Piazzolla is a great love of mine and perhaps his influence is felt more at this point. The battery underlines the new change of trend.
Here, we slowly return to the initial concept; the electric guitar fades in, re-proposing the theme; bass and drums support the musical moment, while the sax prepares for the solo.
Sax, oboe and piano are alone here. The piano plays a simple arpeggio. Tenor sax is the absolute protagonist here. It is “he” that sings here. It exposes a simple theme, very melancholy for me, which then becomes the theme of the electric guitar, with note values that are doubled.
After having exposed the theme of the guitar twice, Element 5 enters again; this time, however, the electric guitar clearly emerges — it makes its voice heard – once again with the initial theme.
Here, the guitar theme becomes more and more central and is re-proposed as in 1., though it is the wind instruments that propose the conclusion – it is they who “close” the guitar theme, providing those notes still missing in the guitar theme; it is they who pronounce the kotodama, the “seed” that generates this piece...
* Images obtained by applying G'mic-Qt filters*
Ordas was composed from 21 to 23 September 2020. © Eidon (Eidon at tutanota.com). All rights reserved.