Transcript

Trevor Herbert

There's a very nice point in the piece, in the B section, where you put a B natural very briefly against an F major chord, just there, can you just play that bit for us...

It's just a sort of bitter-sweet...

George Fenton

Yes, yes, just, er, just, I think it's a sort of... perhaps that's the most, that's the most tension I could get out of that particular, that particular chord because it's playing a B against a, against an A below, and um, in a way it's a very interesting exercise to try and write things given something as restricted, because in fact as one works on it, you begin to realise that actually it's not a restriction at all, it's really something that in a way, because of its limitation is what can in the end make the piece interesting. I think, you know, one's always looking for some kind of structural sense so that if you set up a little bit of tension in the first phrase that as much as you um, contrast that phrase in the third phrase, and develop it, that you should also develop the idea of – if there is an inherent tension between the melody and the chords that you should develop that as well. And um, resolve it each time so that it feels that it has a complete shape.