When trying to create a form for this piece, I thought in the Fibonacci series. I found a way to shape my harmony on the entire piece.
The first step was to select a metronome mark (crochet = 60), so I could control the time (6 minutes in total).
Then, the second step was to create my Fibonacci series, going from the beginning (1) until the number I thought it was doable for this work (34) (image 1)
Image 1 - Fibonacci series I’ll use in my piece
The third step was to select how long will be each number of the serie - always with the purpose of controlling not only the figure (crochet) but also the total duration of the entire piece (6 minutes):
At the end of this, I realised that I needed 1 min. 16 sec. to reach the 6 minutes goal. So, I decided to create three specific points in the form (25 sec., 26 sec., 25 sec.) which are not part of the Fibonacci series, and then decided how many chords and transpositions I should have in each section of my form (image 2)
Image 2 - harmonic form + Fibonacci series
The geometric figures are the outside Fibonacci serie times to allow me to reach the 6 minutes I want for this piece. The first square will be 25 sec., the triangle in the middle will be 26 sec., and the last geometric figure will be 25 sec. With al this I have the 6 minutes.
In the first section of the image 2, I have chord 1, where I will use 9 transpositions, 5 of them will be in the original pole and 4 of them will be in the opposite pole. In the second section I want to use chord 8 transpositions of the chord 2, 5 of them will be in the original pole and 3 of them will be in the opposite pole.
There is still a question mark for the geometric figures. I do not know what to do.
After shaping the form of the harmony of this piece, I started to select which chords will belong to the 9 in the first section and to the 8 in the second section. I took the exercise made on the 21th June 2018 to create the 17 chords, always wondering what about transposing not to the closest tonalities in the circle of fifths but also to the farthest tonalities. For my chord 1 (5 original + 4 opposite chords) I selected (image 3)
Image 3 - section 1, chord 1: 5 original pole chords + 4 opposite pole chords - original stage
After selecting all my chords for the first section, seated at the piano, I putted all together with less jumps possible - a voice leading I thought better for the form the chords are constructed (image 4)
Image 4 - section 1, chord 1: 5 original pole cords + 4 opposite pole chords - in voice leading
Then, I made the same process for the second section, chord 2 (image 5 and 6)
Image 5 - section 2, chord 2: 5 original pole chords + 3 opposite pole chords - original stage
Image 6 - section 2, chord 2: 5 original pole chords + 3 opposite pole chords - in voice leading