35) New composition to come.

The idea is to combine a folkloristic diatonic quite simple melody, that comes from Thaung Htike, with a harmonic concept that has also been used by Maria Schneider. This harmonic concept was only lately introduced to me by Leon Lhoest in his composing and arranging class!

The idea is, that Thaung Htike sends me a little recording of the melody. 

Material from Leon´s class and my composition draft so far: 
https://www.dropbox.com/sh/ajy8r2d4yrmdwc8/AABhurm1UKRKgUko4SSVQJuya?dl=0
Leon Loehst introduced us to a reharmonization technique that also the wonderful Maria Schneider uses. 
If you have a simple melody and you reharmonize every note. The idea is to have a power chord as the base, i.e. the root and the 5th, above you choose major triads in close position. Three tones. That makes it a so called polychord. Or you choose a voicing of fourths for the upper structure.
You can observe how the harmonic colors shift through the modes and become either lighter or darker. 

In that way I arrange / reharmonize 8 bars of the beginning of this new tune, that will be ready for the concert in August. Since the melody I work with has so many notes. I can imagine that I don't harmonize every movement of the melody. I imagine that sometimes I will take two tones in one harmony. 

OK here is the little melody. 

Please listen to the melody first. It reveals a little bit the experience I wrote about. The material and melodies can be clear, still it is difficult to understand how to play them. 
For your ear, what do you think is the meter of this melody?
This phrasing can be so confusing!
I knew Thaung Htike wanted to send me 8 bars, but I was doubting... ;-)


Thaung Htikes score: 

My transalation of the score Thaung Htike sent me:

Daphne Wolf sent me an email and wrote:"Der Name des neuen Stückes ist auf burmesisch "te din gha", auf Englisch "fleeting". Seine Idee war: flüchtig, einen kurzen Moment erleben, den aber für sehr lange im Gedächtnis halten." 

"The name of the new piece is "te din gha" in Burmese, in English "fleeting". His idea was: to experience an ephemeral, short moment, but then you keep this moment for a long time in your memory."

Let´s see, if that helps me finding a beautiful harmonisation now?!

As I expected since this melody has so many notes, the technique is a challenge. But I sticked to it. 

My idea by now is: We can play the melody in unsison in the beginning. 

Then I come in with a groove first with voice, then add the baseline of the piano, then the chords. Thaung Htike plays his melody above. I play the first reharmonization and the second with melody on top. The music is getting more stuffed each chorus. Then I start a groove on Gmajor and Thaung Htike can play a solo. Or I manage to think about another 8 bars for a B-part. I still have to consider, if for this piece that would make sense.