The song “Descending Waltz” revolves around a series of harmonics: A,C#, G#, G, F#, and it is these last three harmonics, each a half step from each other which makes the song interesting. This harmonic rhythm is kept throughout the whole song, and is expanded upon to create various chords and patterns. The second part of the song starts with an arpeggio along with the harmonics in 6/4 time. The arpeggio then shifts to 5/4, then 4/4/, then 3/4, then 2/4 time, all while keeping in line with the same harmonics melody. This is done to demonstrate how basic melodies do not have time signatures, and how all time signatures really are is relativity.
This song was highly influenced by minimalism: showing how one melody can be repeated over and over, be expanded and warped and still remain interesting. I wanted to show how melodies aren’t constrained by chords and time signatures, how the only thing that truly defines a melody is itself. Through this song I apply many different chords and time signatures to that one, basic pattern, while it remains the same as always, it is only the music about it that is shifting. The song all began with the harmonics melody, and I expanded it out to remain interesting through the whole song. I then came up with the idea of rapidly changing time signatures, and soon developed the second section, which inspired the title.