Improving the practice and performance of contemporary music
The basic material in part II of Mari consist of a series of dyads in the low register of the marimba. In the next period, a melody is obtained by pulling the dyads or combinations of dyads out of each other and adding extensions. The extensions mostly concur with an axis or a mirror of the series of intervals that appear in the melody. In the third period, the extension goes on through a filter that alternately adds semi-tones and whole tones. This extension always starts with a semi-tone and continues until the distance to the next original note is at most two semi-tones. In this extension, the axes of the former period are still present.
The filter that starts from the third period groups two consecutive chromatic notes in the next period and applies a similar modus operandi. This principle - the axes and the chromatic melodic fragments - can be found throughout the rest of the composition.
The example shows the first three groupings and their applied codes in the next two dynamic sections. The intervals from the beginning are separated into melodic lines in the second section (exception: Db3 to D3). The intervals that are generated are then mirrored around an axis within the melodies. In the next section, new notes are inserted, constructing ascending melodies with similarities and inversions between their interval successions.
The concept of intervals wrapped around axes can be further extended through the next sections to explain the phrases and intersections. The end of this section provides the pitches for the dyads in the next section.
The beginning of the last section (a tutta forza) holds again a combination of dyads and mirrored intervals.
