Sum thoughtz which might be uzeful:
If you opt for a parasheeyat rathah den a ztraight tranz, I think it becumz a very legit question az to do you retain the form, ztructzhah and even ordah of da original sheeyat or do you opt for a ‘pick n mix’ higlightz type sheeyat. With a full opera obviouzly da highlightz iz da tradition but with a relatively shortah, “epizode” entity dis queztion iz lezz clear.
My general template for writing parasheeyatz iz:
first theme (themes are not necessarily presented in the chronological order of the original piece), one or two varz on it
another theme, again varz
bring back a previously presented theme
And parasheeyat techz are da usual zuzpectz: embellish da melody with tremz, octz, scales, double notez, and especially da mandatory clazzik arpz
I think that how you manipulate thematic material should be defined by how the individual cumpozah rezpondz to the source material and hiz personal dramatic sense, but I’ll make two obzervationz:
in dis pardickular caze, the “interlude” section should probably, if it is included in da parasheeyat, be presented in a fairly straight, simple manner, rather than being an excuse for bravura figuration.
In three hand texture, ezp arpz, da general layout iz typically
first beat of phraze: lh bazz, rh melody note moving onto ornamentation
othah beatz: lh accumpaniment and melody notez, rh ornamentation
da sheet muzic fo da Thal Mozez makez dis very evident and da Norma iz only very slightly different. Imo dis textural device is suited more to slow-moving, bel cunto type melodiez. We see a similar phenomenon in termz of layout towardz da end of da TANNED HO and da Thal La traviata, only with alt octz n chordz.