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-   -   Clarinet Sonata (http://www.notation.com/vb-forum/showthread.php?t=1933)

M G Jacobs (mgj32) 11-02-2006 09:49 AM

I have hesitated to post this
 
I have hesitated to post this for a while, for two reasons. The first is that the GM clarinet begins to squeak at C7. It almost sounds as if the player loses tone control at this point. The second is that when I jotted down themes for it, as much as 2-3 years ago, I failed to include a note as to their sources. Some--especially the first them in the second movement-- sound very familiar, but I can't place them; so I don't know if they are original, take-offs from an existing theme or that I had noted them down as sources of variations.

But regarding reason one, there is not much to do about the high notes and get the small file size offered by midi. Incidentally, after trying seven soundfonts, I chose the For Classic Music clarinet in the recording I made, even though it is a bit too mellow below C7.

Regarding the second reason, perhaps someone will recognize a theme and be able to tell me the source, so that I can either give credit or do some re-writing, i.e., theme changing.

The sonata actually started in the early 1980s, albeit in a very amorphous way. In a conversation with John Denman, I think I said something like, I was going to write something for clarinet one of these days when computers (PCs were fairly new in those days--I had a Vic) have note processors, just as they already had word processors, since my experience with writing some short pieces taught me that editing, re-copying innumerable times and finally coming up with a manuscript even I could read took far too much time to make it possible. Certainly, writing something for one of the best in the world on that instrument was more than one of those spur of the moment inspirations that dissipates over the years, and I continued to do some composing in my head and jot down ideas. Unfortunately, he died several years ago, and I really didn't feel like going on with the project for some time. Just about a month ago, however, I decided to try to put it all together and make the dedication 'to the memory of...'

This is where it is now.

<center><table border=1><tr><td>http://www.notation.com/discus/icons...hment_icon.gif1st movement, moderato
Sonata for Clarinet and Piano 1st MV.mid (54.7 k)</td></tr></table></center>

<center><table border=1><tr><td>http://www.notation.com/discus/icons...hment_icon.gif2nd movement, ballad, adagio
Sonata for Clarinet and Piano 2nd MV.mid (22.1 k)</td></tr></table></center>

<center><table border=1><tr><td>http://www.notation.com/discus/icons...hment_icon.gif3rd movement, allegro molto
Sonata for Clarinet and Piano 3rd MV.mid (45.9 k)</td></tr></table></center>

Fred Winterling (harbor1) 11-02-2006 04:30 PM

Hello MG, Wow, what a brill
 
Hello MG,

Wow, what a brilliant marriage between the piano and clarinet! You have such a skill for balance. I can actually feel what I believe you feel inside as you are writing. So few musicians have that kind of "soul". Without it, no amount of study or technical ability could project like that. I especially like the 3rd movement. It's a "feel good" composition. Unfortunately, I don't recognize any of the themes and can't help you on that one.
I think your clarinet sounds great, even in the upper register. Other than piano, midi falls far short of perfection when playing the high notes. My tenor saxophone sounds like alto or soprano whenever going above the "medium" range. I guess that will eventually get better. Anyway, I really enjoyed the sonata. You made my day!
P.S. I have a question. Do have any secrets for linking various songs together in the same score? I am going nuts trying to link pieces together for my drum and bugle corps performance piece. Each of the songs uses different instruments, etc. I would guess I would have to use a lot of instrument sound changes? I can't put all those different voices into the staff set-up. I am going daffy enough controlling all the various tempos, pans, velocites etc. When you click on the graph, I have so many red lines going in so many directions, it looks like a mad editor correcting a bad manuscript.http://www.notation.com/discus/clipart/smile.gif
Cheers,
Fred

M G Jacobs (mgj32) 11-02-2006 07:21 PM

Hi Fred, Thanks for the com
 
Hi Fred,

Thanks for the comments.

quote: Each of the songs uses different instruments, etc. I would guess I would have to use a lot of instrument sound changes? I can't put all those different voices into the staff set-up.

You can just put every instrument you'll be using into the score. Hide empty staves, if you want so you don't see them when they're not playing. I like to keep them all and scroll up or down in case I get an idea about moving some measures from one instrument to another, or doubling them.

You can't put a lot of voices into the staff setup, but you can put several voices on the staff itself and designate in the staff setup for the instrument name, something like "4 Trombones." If there are no more than two playing, say, quarter notes and two playing eighth notes, you can just use upper and lower voices. If they are all playing different time values, then you'd have to set up four staves, "1st Trombone," "2nd Trombone," etc. I guess you'd also have to use a staff for each trombone if you wanted a different pan position for each one.

Have you tried using one of the templates for band or orchestra? There are some missing that used to be there, but maybe (I hope) some of them can be copied from an earlier beta or 1.x.

As far as actual linking of songs, I sure don't have any secrets. Write a transition to the tempo, key and overall sound of the new one.

I know what you mean about all the red lines. I think what it would be like if I were trying to do this on paper...and suddenly it's a lot prettier http://www.notation.com/discus/clipart/happy.gif

all best,
mgj

Fred Winterling (harbor1) 11-02-2006 07:56 PM

Hi MG, Thanks for the suggest
 
Hi MG,
Thanks for the suggestions. I haven't tried the templates for band or orchestra, but will. Part of my problem is that the piece opens with a 'drum line' part and I need at least 6 staves for the drums. To get the effect of hearing a full line of drums, I use different pan settings for each and also each note has a different attack point. The drum line sounds real, though. If it was a little warmer here, I would turn up the volume and open all the windows. It would be fun to watch everybody come out of their house and look for the parade.http://www.notation.com/discus/clipart/happy.gif
Fred

M G Jacobs (mgj32) 11-02-2006 08:39 PM

Hi Fred, At least some, if
 
Hi Fred,

At least some, if not most, of the drum staves could be one line if you have only one instrument per staff. In any case, you could hide inactive staves, and that would give you less clutter.

Let's just both move to the tropics and we can both have fun watching the curious neighbors come out to see the parade.

Cold here, too. And I don't like it.

best,
mgj

Dr Peter Kalve 11-03-2006 04:50 PM

Quite a few interesting ideas,
 
Quite a few interesting ideas, but I feel you need to look at the overall shape of phrases - and especially where phrases begin and end - it is often quite difficult to tell! One other thing - my composition teacher always told me to write for what is possible - some of your recommended tempi would be almost impossible for virtuoso performers.

Having said all that, I do like some of the comtrasting ideas you have used. In addition, the sheer scale of the piece suggests a lot of work to get all those notes sorted out. So overall, interesting ideas in part, but a somewhat confused structure.

Now I shall duck for cover!

M G Jacobs (mgj32) 11-09-2006 10:13 AM

Dr. Kalve, Many thanks for
 
Dr. Kalve,

Many thanks for your helpful comments. I'm afraid I don't think much (consciously) about phraseology when I'm writing--that is mostly a process of getting on paper what I have imagined; so I certainly wouldn't quibble with an analysis that finds it faulty. I can see, too, why there might be structural confusion. I tend to think in standard forms, but I also tend to make departures, usually after hesitating at first, when intuition tells me I would like the piece better if I did so. My only criterion for judging a piece is my listening enjoyment, and that standard could easily produce source material for a critical field day for anyone who doesn't enjoy it. But at my age, it seems more important to get the imagined stuff written before the years run out.

I am really glad you brought up the playability issue. The clarinetist I had in mind was as much wizard as virtuoso, but the instrument itself has limitations, and I have found several places where I will have to do some re-writing, for both instruments.

all best,
mgj


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