Life in a nutshell

This time, I wanted to work with rhythm complexity and the mosaic form. 

I took a pice I had written for piano solo, which was a canon in prolatio, and I added two more voices to the canon in some parts
The piece is for two violins and piano. 

There are six different parts: 
A = 2 measures 
B = 8 measures 
C = 3 measures 
D = 8 measures 
E = 3 measures 
F = 4 measures 
The structures is as follows (written in the score): 
ABCDAEFCEFABDACEF 
Don't expect a classic binary, ternary or whatever form. This is a different (contermporary approach) where the parts are short and the mosaic is done combining them in different orders. So, the concept of variation and climax is not the classic one.

Parts B and D are the more complex. The four voices (piano two single melodic lines, plus two violins) are in prolatio. The same melody is played at different rates or time signatures. These parts, although are not always consonant, are in tonal "environments": part B in Gmaj, part D in Dmaj. I wanted to focus in the rhythms. 
The other parts are in contrast. The texture of the piano is chordal, and tonality dissapears. 

Although the whole piece runs in quarter note = 78, I notated the exact relative timing for the voices in prolation. This was an observation that one of the teachers I had made, in order to make clear to each player the timing.

https://soundcloud.com/user-406660501/life-in-a-nutshell

LIFE IN A NUTSHELL_LH - SCORE.pdf

To me it doesn't matter, reading the description of the form, and the minute play by play action in the text. Except for the treatment of rhythm, which is notable. Though I would have noticed it without the text. That's just me. I go by ear and feeling in all cases, even my own stuff. I really don't need it. To me it sounds like Luis Hernandez, and as usual, very engaging music, with many facets to it, always a little different, and nicer for it.

This was really interesting to me.  There's a unique cohesiveness to it in spite of the different rhythms. 

So each measure should take the same amount of time regardless of time sig.  Am I understating that correctly?  If that's the case, I don't follow your metronomic markings.  I don't seem to be able to make them line up to the bar line.

I'm not sure I understand prolation, which could be contributing to my confusion.

I did enjoy listening to the work.  Ken said it very well; "very engaging...many facets...a little different",  and I would add, well done.

Tim

It's a bit like shoving a square peg into a round hole, but it's not without precedent. Stravinsky put 3/4 with 7/8 in the opening bars of Petrushka.