Non-logical is a piece that I constructed based upon "32 Short Films for Glenn Gould" that adapts a number of different and lesser-known techniques into one piece. Without thinking too much about it, it is clear to anyone that Non-logical is not a word, and yet it would be nearly impossible to not know what it means or, is at least implying to mean. Simply put it is not logical. The concept and meaning behind my piece is as literal to the title as I could quite possibly get, while I feel like the music doesn't have a constant flow, while each section may not feel quite right and the arguable over-use of some techniques may sound like puzzle pieces from the wrong puzzles trying to fit together, it somehow works. It doesn't make sense, but the all the concepts and ideas are still there, the tones and colours may not match, but from my perspective, the pieces still fit. So from here I will guide you through the pieces.   

​

To begin the piece I have combined several techniques, Nested Tuplets as well as 2 Stream Isolation and PROXIMITY. While writing my "32 Short Films for Glenn Gould", I became quite interested in Nested Tuplets, however I found it difficult to fit them into my piece at any point without feeling like there was a disruption of flow. Upon hearing the introduction to Knock by Korean Hip Hop Artist Zion.T I decided to adopt a more relaxed intro that I could build up later if need be. Thus I added in 2 Stream Isolation and separation into the first section alongside the Nested Tuplets. 

​

From there I used Modal Interchange, a technique I found and became interested in only recently. I wanted to create a nice chord progression that was a little different, but I myself am not the most creative nor knowledgable when it comes to things like chord progressions, so when I found Modal Interchange it was a different perspective on chord progression that really helped me create something new in this piece I believe. I took the key of A Major, inserting Lydian and Locrian chords into the piece. As I rather liked this section of the song, I also took it upon myself to repeat it at the end of the song, like an opening and closing chapter.

​

I have a bad habit of making my works sound quite rigid as I transfer from one concept to another or simply between two motifs. I also like to use multiple tempos, so discovering Metric Modulation was a technique I felt could be well implemented into my future pieces. Metric Modulation is taking the original tempo, changing the equal length and as such amount of notes within each bar and determining a new tempo from this. For this I began with 70 Bpm and, after dividing the bar into sextuplets, found the new Bpm to be 106. This however is quite a peculiar tempo so later in the piece I still resort to a ritardando and tempo change. Following this is Common Fate. I originally wrote this into the Piano part and found it didn't quite fit with the piece. Upon reflection I then remembered the concept of double and triple stopping on stringed instruments such as Violin. As such I implemented a common fate of thirds into the Violin part, and added a few bars of 5ths purely for the sake of it. 

​

Towards the end of the piece I use the technique of Permeatations, that is taking a short phrase, in this case I used a 2 bar motif, and placing the first note, both in tone and length and placing it at the end of the 2 bars, and continuing the pattern. For this I wrote the motif and built the chords below it. I opted to make a more complex motif so that I could experiment and see how quirky it would sound permeated. It was in fact quite hard to work with I found, so this section has a, unique, bass accompaniment. To highlight this however, I chose to include Piano pedal notes, something I know is less common amongst most works. When I first looked into Permeatation, I assumed the motif would for the most part, sound quite similar throughout or develop a noticeable pattern. However when I wrote this piece, while it does sound almost perfect for the first few repeats, towards the final third of this section the rhythms become quite complicated and rigid, so I am not sure how well this piece could be played by a pianist in th future.