My previous post explaining the details of this piece is here. This post is just to point out the final revisions.
The canonic voices are unchanged: It is the added voices in green which have been modified. I changed them so that the first cadential area is an inversion of the second and final cadential area. This gives the piece an added dimension of symmetry, but it also means that there are now both melodic high points and melodic low points. The final cadence is filled out with a third appearance of the pivotal diminished 4/3, only this time it is between the top and bottom open E strings of the guitar as part of a V7 (m9). This is the only place that this structure is playable on the guitar, and it's real fracking cool, if I do say so myself. The tierce de Picardie in the final chord of resolution will probably be saved for the real end of the piece, which you'll understand momentarily.
I have always been careful about the altitude and placement of my melodic climaxes, but I never really gave much thought to the low points, or whether or not they were duplicated. This little miracle of a piece has me rethinking not only the architectural proportions of my compositions, but many other factors as well.
What I am currently planning to do is to use this canon as the theme for a theme and variations set. Obviously, it has qualities that are similar in nature to Bachian and Beethovian Chaconne and Passacaglia themes (I'm thinking of Bach's trancendant Chaconne for solo violin and Beethoven's equally awesome Thirty-Two Variations in C Minor for solo piano). A Central contrasting section in the parallel major will obviously offer some nice possibilities: The relative major would present impossible fingering obstacles.
You can now download an MP3 of the music and a PDF of the score at my .Mac Downloads page here. You may notice some other new stuff there, which will become the subjects of upcoming posts. I've been on a roll lately.
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My favorite things are simple: Just a terry cloth robe is fine by me.
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