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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, December 1, 2010

Divertissement - IV. Marche for clarinet and piano

This movement included some snare and cymbal parts that needed to be replaced. The piece actually began with a snare drum figure for one measure and I just eliminated that. Most of the movement was fine without the percussion except when the percussion played alone. Measure 38 was one of those places. I used a sustained note in the left hand of the piano, added three extra notes to the piano right hand and turn the 6/8 measure into a 9/8 measure. Measure 51 just uses the sustained in the right hand to fill in for the missing percussion.

Measures 65 to 73 was entirely percussion and piano left hand. The clarinet part and piano right hand was added to replace the percussion. Upon review of the movement, I added the chromatic 16th note run at measures 71 and 72 and I like the improvement. It also suggested other places to add the 16th notes like measures 80, 117, 118 and 120.

Measures 89 to 96 took a snare drum figure and made it into a piano left hand line. One can definitely hear the snare drum in one's imagination.

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

1 comment:

Bret Pimentel said...

Hi Sy,

With each new movement I like the piece more!

Compared to the recording of the original piece with oboe and percussion, the sort of false start is more subtly humorous here, which I like. Do you intend for the full opening measure to be precisely in time, or, with the snare drum gone, is there room for a little pause on beat 3?

I like the 16th-note runs, though it's tempting to play at least one as a glissando a la Rhapsody in Blue.

The clarinet has a much greater dynamic range than the oboe does, both on the softer end and the louder. You have probably taken this into consideration already in your dynamic markings. And, since the clarinet typically doesn't use vibrato like the oboe does, clarinetists love to use dynamic nuance as an expressive device. I played through the clarinet part and found myself, for example, instinctively accenting the dotted quarter in measure 11.