How to create fast runs (i.e. speedy notes)?
I am a competent composer. I am trying to improve a particular skill: creating sequences of very fast notes that sound pleasant.
Examples:
Chopin's Fantasie Impromptu
Chopin's Etude Op. 10 No.5
I have both read neuroscience articles and measured the speed at which the fastest notes can be (1) distinctly perceived versus (2) perceived at all as anything tonal or musical. Many of Chopin's pieces (including as those cited above) surpass the speed at which notes can be distinctly perceived yet are slow enough they are still musical/tonal.
My question:
does anyone know of any books or resources that discuss the experience of fast notes? I am looking for something that might give me suggestions for how to make pleasing fast note combinations.
Remark:
If you have never tried, creating fast sequences of notes isn't like creating a standard melody. As I mentioned, the brain processes the notes differently and so creating such sequences is actually a distinct skill in itself.
Thanks!
EDIT:
By "fast", I mean notes around 86 milliseconds in duration. That's about 698 ± 24 BPM and 11-12 beats per second.
(2)2 Comments
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You need to have a clear concept of what constitutes a "pleasing" sequence. For some people, the sequence should be all diatonic. For others, entirely dissonant intervals are more preferable.
As others have noted, the speed of the sequence is gestural and not melodic, therefore greater attention must be paid to beginning / ending notes of the sequence (registral resolutions / counterpoint as well as the over-arching harmony / tonality of the sequence).
I'd also like to point out that BPM's of 698 are just silly. At a certain point, around 224bpm, the brain starts perceiving beats in terms of hypermeter.
That said, you'd want to focus your research toward music "semiotics" - specifically looking for melodic sequences. I would say that a basic knowledge of Schenkerian analysis would help you as well.
One idea would be to explore the Chopin Polonaises. Freddy wrote parts in the polonaises that gave the impression of snare drums. In the Opus 44 Polonaise, he uses a four 32nd note pattern to imitate drums (in 3/4 time). I'm not sure what his rule for the notes was. Mostly I see the first two and second two intervals sort of outlining a V-I or V-I pattern in a key closely related to the next note (not necessarily the key the passage is in.) I think as the pattern is rhythmic rather then melodic per se, a dissonant pattern would work well.
I've tried the same idea to represent an "arrastre" in tango arrangements. The arrastre is a method of playing a note on a string bass where the bow is started slowly and speeded up during the note, without increasing bow pressure. I've been using either things like Chopin or just outlining the vii0 or bii7 around the note (both allow for a semitone approach as the last note.) Of course this doesn't work in the deep bass where a slower approach is more appropriate.
Another place in Chopin to examine fast passagework would be the big runs in the polonaises and Ballades. These are long fast runs over several octaves. Usually the seem to outline little figures. I know pianists who will replace these with glissandi on bad arthritis days.
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