Once more, I found myself transposing this movement up a fourth from the oboe, piano and percussion version. It fit the alto saxophone range better but I needed to bring some of the piano part down an octave to make it work. This movement used marimba in the other version, so I was challenged to find a place for the marimba parts. Most of the time, I incorporated it into the piano, but there were times where the saxophone has some of the marimba part. Unless you compared the two versions or I told you specifically where to look or listen, I hope that you will not be aware of something added. My goal was to transform the other piece into something that sounds like it was written first for this instrumentation.
Another challenge was to keep the forward motion going in this movement as the marimba was rolling a lot of notes and when that part came into the other instruments, some momentum was lost. As a result, I added some harmony and also a new rhythmic motif of 16th rest, 16th note, 1/8th note. Measure 10 is an example of added harmony and measure 11 has the new rhythmic motif. I carried this motif through in several other places as it added a new dimension to the piano part.
The Meno mosso at measure at measure 36 is also something that was not present in the original. I feel the change of tempo is needed here because I did not have the change of color as in the original version.
In the first movement, I took Bret's suggestion of extending the range and brought the flute up an octave at measures 71-73. This fits very well as it is the climax of the movement. The scorch file has the change. If you listen to the mp3 file, imagine these 3 measures up an octave.
To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.
As always, your comments are appreciated.
Dr. B
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