The Scene's Scheme

Yesterday morning, I cast some notes upon the page for Night the Third. More than this, I planned out some textural aspects of the scene, and the pitch-world process. This afternoon, I made (verbal) notes about scoring, and to spell out detail of the textural conceptualization. In a way, I suppose I have been ‘setting the rules,’ for when I sit down to properly compose/improvise the scene.

Perhaps I have not considered this seeming anomaly, since the days when I drew up the outline for the entire ballet; but Night the Third is the uncharacteristic “onesie”—even Night the Fourth is divided into two scenes (the setting is the same, but the marker is a character's entrance). So I stand to earn a big psychological victory, through a fairly compact compositional task:  I could (without a great stretch) possibly tie up Night the Third and Intermezzo III by May's end.

Separately (as yet only in principle) I am thinking—for highly practical use—of a piece for clarinet and strings, Deep Breath, and another for two clarinets and bass clarinet, I float above your mistaken impressions of me.