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I have created this site in order to provide performers, listeners and composers with a description of a composer's experiences with the creative process. The posts will provide discussions of the inspirations, challenges, and successes of a composer from the inception of the piece to the culmination in performance. I will provide a link to where you can see and hear the works in progress. Comments and questions are always welcomed. They will not posted unless you grant me permission.

Wednesday, November 21, 2007

Sonata for Clarinet Movements 2 & 3

I have finished transcribing my Sonata for Viola and Piano for Clarinet and Piano this morning. While working on this piece, I realized why I am so enamored with this project. I feel this composition is one of my best and it is great to see it getting new life. I think clarinetist will be more open to learning a new piece than violists and it transcribed very well.

The second movement is an example of my lyrical best and the interplay between clarinet and piano makes this a true duet. The opening theme (Measures 1-13) appears as a variant at measure 20-27. Both these sections end with a rapid 32nd note motif that becomes an important development idea. It often appears with an expansive line that begins with the M7th interval. At measure 30, the meter change to 12/8 ushers in a transformation of the 32nd note motif that interplays with the M7th motif creating an entire section that continues to develop these ideas. Measure 54 returns us to the opening material and the movement ends with a rubato section.

Again, my main focus was changing the articulation to fit the clarinet. The rubato section had double and triple stops that I divided among the clarinet and piano.

The third movement brings the piece to an exciting close. I find it amazing when I come back to a work, I discover how well constructed it is. I am amazed because I don't consciously create this construction, rather my ear dictates what comes next. For example, when I wrote the grace note motif at the beginning of this movement, I had no idea it would play such an important role in the coda. The movement is in arch form ABCBA. The C material is the introduction to the first movement at a faster tempo therefore giving the entire piece unity. Once again, the interplay of lines between clarinet and piano has a true duet quality.

In adapting this movement, I had two note that were too low for clarinet. Rather than moving those notes up an octave, I preserved the line by using different pitches. Pizzicato was changed into staccato. The repeated notes at the end were changed into a scalar pattern.

If you have any questions about what I did, please send me a comment. I hope you enjoy this work as much as I do.

The score I am posting has the clarinet part transposed.

To see and hear what is discussed, go to http://www.cooppress.net/sonataforclarinetblog.html

Dr. B

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