Fingerpaint again

As I work on Fingerpaint, I'm realizing a potential problem with the piece as it's currently forming. Hopefully blogging about it will help me sort out possible solutions.

I've mentioned before that I have a strong Inner Steve Reich. By which I mean I want any processes in my music to be transparent and clear to the audience as they're listening. Now, as far as strictly musical processes go, this isn't a problem with Fingerpaint. "Theme" material is stated, then it's pushed around and wiggled with -- couldn't be more straightforward. But, like I said last time, Fingerpaint is extremely programmatic. And it's not really clear what's "going on" without knowing which portions of music correspond to which descriptive headings.

Possible solution number 1: Ignore it. This is what I did two years ago when I started writing it. I didn't consider it a problem then. My philsophy hasn't changed, so what has changed? Maybe my perspective on what's important to the piece. That tells me that I should spend more time refamiliarizing myself with it before I resume writing. Hum.

Possible solution number 2: Each section is repeated exactly. I considered this after finding that solution number 3 doesn't work. But some of the sections are too short for this to work. And I don't like exact repetition as a rule. Because it's repetitious. :P

Possible solution number 3: Textural elements of each section are repeated. Instinctively anticipating my dislike of solution number 2, I skipped right ahead on to this. The "variation" sections use pitch material from the "theme," repeating pitch content (nearly) verbatim but changing just about everything else. And each section so far uses only a portion of the "theme" material. So I figured I could repeat the section using a different portion of "theme" pitch material, keeping the Everything Else that defines that section. I didn't feel the result was clear enough to warrant the extra length it necessitates. And a big problem with solutions 2 and 3 is that they force a classical-esque symmetry on the piece. Part of the fun of Fingerpaint is that it's extremely asymmetrical.

Possible solution number 4: Each section uses the entire pitch material. Typing out solution 3 brought this to mind as another obvious answer. The biggest problem with this is it wouldn't allow the piece to jump around unpredictably. It's methodical, and that's very much not Fingerpaint.

The more I think about it, the more convinced I am that ignoring the problem is the way to go. Being able to follow along with the program notes just isn't anywhere near as important as maintaining the pacing (or lack thereof). I can't insert reference points; it's just not meant to be organized. And if you're "following along," you'd end up reducing the piece to some corny Mickey Mousing.

I've convinced myself that not only do you not need to follow the program, but it's best if you can't follow the program. (Hey, this blogging thing really works; I finish the post and I have my answer.) Now I need to decide if I leave the headings in at all. Yeah, I do; you might not need to know what's "going on," but I'd like you to at least know which "themes" are which colors.