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This is my "Three Transformations of an Original Theme for Solo Violin, Op. 292". It is my second set of transformations for solo violin, as well as my second set of transformations ever. Quoting myself from the description of my initial set of transformations, the "Five Transformations of an Original Theme for Solo Violin, Op. 260": "Whereas in variations you have always to variate from the main theme, in transformations, you transform from the initial theme 'a' into 'b', and then from 'b' into 'c'. You are, in other words, freer." This time around, I considered the theme to be the first transformation simply because, unlike the case of a theme and variations, the theme of a series of transformations is neither more nor less important than any of its transformations. In fact, either of the three transformations in the current piece can be considered to be the theme, not necessarily the first one. We can therefore say that the major difference between a set of variations and a set of transformations is that the latter is not theme-centric while the former is. Making an analogy with atonality in which there is no tonal center, we might say that in transformations there is no thematic center, There is merely a relationship between individual transformations, between different embodiments/treatments/expressions of related musical themes. In my compositional output, I can say that I see the transformation as occupying a middle ground between the sententia and the soliloquy. Each transformation is longer and more developed than a sententia but less so than a soliloquy. Another way to think of transformations would be as "variations on no theme", or "variations of a composition" or "Variations of composition/composing". Here is the link to my first set of transformations: http://www.youngcomposers.com/archive/music/listen/7998/five-transformations-of-an-original-theme-for-solo-violin-op-260/
