Fantasy on Mozart's Andante in C Major for Flute and Orchestra (K315)
| 1: |
- If love is pain, as they say,
- Why do I feel so well?
- The way that I do?
- If love is blind, as many say it is,
- Why do I see so very clearly now?
- If loving is bad, as they say it is,
- Why do I feel so very good inside?
- If love's like that,
- Why did I crave it so?
- Why do I wish to sing so much?
- And many others say the same.
- I wonder what such time and effort can be all about.
- If love's like that.
- If love is so ill, so very, very ill,
- Then why do I smile and laugh?
- If love's a weight,
- Why do larks sing
- For me, for me,
- Up into ever-greater heights?
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| 2: |
- But then, it's true, there is another side:
- If love is kind,
- Then why do folks cry inside?
- And if love is true,
- Why are hearts deceived?
- And trod right down, in clay and mud,
- Where, to the deepest depths, they sink.
- And if love is bliss,
- Why are hearts betrayed?
- And left to fester with such grievous pain?
- And if love is joy,
- Why can it feel so bad?
- I wonder why it's so.
- If love's like that.
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| 3: |
- (repeat of section-1)
(followed by the Cadenza, so in freeform)
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| 4: |
- If love is pain,
- It's still better than numbness without.
- If love is so blind,
- It still gives such insight.
- If love's a heavy weight,
- It's one I bear with joy.
- If love is bad...
- No, it cannot be so.
- For love, when it strikes,
- Is charged with joy,
- And gives meaning to life,
- And is the very thing to be sought.
- If love were pain, as they say,
- Why do I feel well?
- The way that I do now?
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| M.J.Shute |
(2006)
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Music by Fractal Formula
Here is an attempt at writing a piece of music based on a simple formula applied in a fractal way.
For the purposes of this exercise, the chosen formula is AABA,
based as it is on normal human story-form.
The first note of the piece needs to establish the key, so let us assume that it is C major.
The first beat of the bar could, perhaps, consist of four semi-quavers, CCGC,
still keeping to notes from a C-major chord.
The second and fourth beats of the bar would be the same,
with something different happening on the third beat: | CCDC CCDC GGFG CCDC |
The second and fourth bars would be repeats of this, with something different for the third bar.
This would complete the first line of something like a nursery rhyme.
The second and fourth lines would be the same, give or take a change
to the cadence at the end of each,
with something different happening on the third line.
This would complete the first stanza.
The second and fourth stanza would be the same,
with a contrasting bridging section for the third stanza (in this case not a middle-16,
but perhaps more like a middle-4).
So, this would complete something akin to a pop-song single.
CCDC CCDC GGFG CCDC | CCDC CCDC GGFG CCDC | C C G C | CCDC CCDC GGFG CCDC :||(fin)
F F G F | F F G F | CCBbC CCBbC FFGF CCBbC | F F G F ||D.C.al fin (1st time only)
To fill an extended-play vinyl record,
the concerto would not work to repeat the first movement (let alone three times).
It would at least be possible to stick to a format of:
Fast movement 1
Fast movement 2
Slow movement
Fast movement 3
To fill a long-play vinyl album, or CD,
it could consist of three similar such concerti,
with a distinctively different one inserted before the third of them.
Lastly, it is important to note that this would not be music, as it stands.
Written to formula, it might superficially sound like it might sound like music at first,
but the listener would quickly tire of it,
on realising that it is not actually saying anything;
there is no message being conveyed.
It really is just pleasant sounds created so as to fill the vinyl.
Certainly, there is no creative input in the copy-paste operation
to put down the second and fourth instances;
but there is scope for creative input for putting down the third instance at each level
(how different does the motif, phrase or movement need to be to qualify as being different?)
M.J.Shute (2026)
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