Kim: Short Piece for Orchestra

When I set out to write this piece, my main influence was the minimalist pieces of Philip Glass. In particular, I tried taking influence from Glass's "Mad Rush," "Glassworks," and his score for the movie Koyaanisqatsi. The entire piece is based off a simple, four-bar chord progression (i-VI-III-v) which is repeated twice with a V substituted for v at the end. From this structure, I created a series of cumalitive variations.
ANALYSIS:
"Theme" (0:00): A sparse solo piano part in simple, triadic arpeggios sketches out the harmonies of the piece. There is no real melody in the section except for some droning notes generated by the harmony. With the appearance of the V chord, the strings enter piano leading to the next variation.
Variation 1 (0:24): Here all the strings except the doublebass enter. The first violins state a simple, stepwise melodic line over the rest of the ensemble. In the piano part, an upper neighbor-tone is added to the arpeggio, a figure common in much of Philip Glass's music. Short, rolled octaves are also added in the piano part. As the second variation begins, the doublebass and timpani enter, giving more push into the next variation.
Variation 2 (0:48): The piano part now repeats the same arpeggio figure, except with the durations doubled. A celesta double the rolled octaves to make them pop out of the texture. Overtop the previous material in the strings, the first violins finally enter with a melody, doubled by flute and oboe. The melody mostly traverses the B natural minor scale. The bassoons reinforce the bassline with driving, staccato sixteenths while the clarinets double the piano parts (the clarinet part is split between two instruments in order to allow for breathing).
Variation 3 (1:12): The brass enter in this variation with the horn and trombone taking the melody from the violins. The trumpet adds short fanfares into the mix. The violins return to the melodic pattern in variation 1. The piano part now uses sweeping arpeggios up and down the keyboard rather than a closed triad.
Coda (1:37): The music suddenly halts, hanging on a V7 chord with the celesta intoning two lone octaves. The piano, accompanied by the the string section, now ends the piece, reusing the same sparse arpeggios found in the "theme."
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INSTRUMENTATION:
Woodwinds: Flute, oboe, Clarinet in Bb, and Bassoon
Brass: Horn in F, Trumpet, and Trombone
Percussion: Timpani
Keyboards: Piano and Celesta
Strings: Violin 1, Violin 2, Viola, Cello, Contrabass
Playback done with MuseScore 4
Painting: Wassily Kandinsky "Several Circles" (1926)

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it sure sounds good for musescore orchestra