ClarinetMicheal

Since there's a few of you replying, I'll say a little about us. The 3 of us attend The University of Southern Mississippi and all study music performance. Both myself and the oboe player are principle players in both the wind ensemble and orchestra, the flute player is also very good, he sits very high in both groups also. So no lack of talent :P I am from northern Minnesota, proud of my Polish background and the other two are from Brazil and Venezuela, both are proud of their country's also. I enjoy 20th century music both always enjoy all rep. I'm really fond of Copland, Debussy, Carter and Nielsen. I love all music. I will ask the other two about what they enjoy and let you know what they're main interests are. Send a PM if you want any other particular info.

I wasn't sure were to post this so if I have it in the wrong place, you can move it. I put together a chamber group of flute, oboe and clarinet. There isn't a whole lot of music for this combination. Since I don't have a lot of time to compose while trying to finish up my degree, I'm wondering if anybody would be willing to write something for our group? We will perform it on a chamber recital either this semester or in the fall semester. I know that if you wanted to put extended techniques or ranges it shouldn't be a problem as long as it works with the ensemble. If interested, let us know and I'll look forward to seeing the final product. We can also work with you if needed. Thanks!

I have to agree with flint, I found a lot of it to be a bit dull. It just seemed like the same stuff would happen over and over again. I felt that the solo part could have more virtuosity throughout. When the tempo would build up and the solo part would start, I kept waiting for it to get really complex. Something that would make the soloist soar. I did notice that some parts the bass clarinet goes into the upper part of the staff, I noticed it most in the big triplet tutti sections in mvt. II. The range of the bass clarinet there gives a thin sound, if that's what you're looking for then don't worry about. If you drop it an octave, it'll be fuller. Although the orchestration is pretty thick at times and it'll probably be lost in the mix of things. Overall I agree with flint on his views. I'm not saying it's bad, just a few things I noticed.

Well I enjoyed it greatly. I love when the pizz. are against the arco in the bass line. I just agree with people with the score, mainly the beaming. I had a hard time following cause of it. Otherwise the piece was great. I could probably tell 8 or 9 different stories off the top of my head with this music. Great work!

The passage from 59-71 is what the bassoon line has starting in measure 9. I put it in for a to give some seperation to the main theme. It's basically there to other parts. The tuning won't be a problem for the quintet I wrote the piece for. Again thanks for the comments, it really helps and gets me thinking.

That helps, that's pretty much how I do it. I'm trying to see if most people write at the piano. I can't really do that since I developed some major wrist problems preparing for the piano profeciancy(sp...my english sucks) last year. Now I have to wear a neckstrap with I perform clarinet. I was wondering if you had some idea of how you wanted your hamonies to go or did you just write you liked at the piano?

I don't have the score infront of me but I'm assuming you talking about when I put all five voice in a eight note canon? That's one thing that was really bugging me actually. I will fix that. You should of saw the way I had it the first time...it confused the crap out of myself. I'm not sure how to changing beamings in finale yet. But once I figure it out I'll change that right away. Thanks for looking at my piece flint.

The 2nd movement I was considering moving the held notes around to give the bassoonist a break and also changing colors too. The articulations I wasn't really thinking about at the time, thanks for saying that. I'll add in what I wanted in there. The third movement does need more dynamics, I agree with you 100%. The fourth movement, the bassoon line is possible for the bassoonist I wrote it for, I've heard her rip Ligeti's ten pieces. I put the eigth notes going all the time for a more driving effect, give it a nice contrast to the other movements, as for staggering the parts on the eight notes, I completely agree again. Thanks for the comments, I always get worried when I post and nobody replies for a few days. I'm just starting off composing so I really do appreciate the suggestions. I will upload the first movement midi again once my internet is running.

My question is how did you go about writing this piece? Just in general. Did you sketch it out or something else?

Would you be able to post a .pdf file of the score for those who don't have finale 2008?

I realized that the 4th movement, the bassoon line is in the wrong clef...should be tenor not alto, I will fix that. *The 4th movement bassoon line will be in bass clef. I would post the revised version but the internet on my personal computer is down.

This is a piece I've been writing over the past month or two and just finished. I debated writing a 5th movement which brought all 4 of the other movements together but I think the 4th piece is a good ending. This piece is writen for the Category 5 Winds at The University of Southern Mississippi. They are the faculty woodwind quintet. They are all amazing musicians and I tried to pushed them a bit, some more then others. Inspired by Gyorgy Ligeti, I looked to write to push the performers in many different ways. His pieces were of great inspiration for me over the past couple months and I owe my thanks to him for his influence and for his style which makes me want to continue pushing my limits. I. Rubato. Largo. Mesto. - This movement is base around dissonance. I liked using a lot of major 2nds and minor 2nds through in order to give a uneasy feeling II. Adagio addolorato. Allegro maestoso. - The opening melody in the oboe is to give a feeling of longing. Again I explored dissonaces throughout. ABA form. III. Andantino. - This movement is to give a laid back feel. I love the tritone and used often on top of a drone line. I'm thinking about adding/changing somethings about this movement since it is real short and gets to be boring to myself. IV. Prestissimo con spirito. - I really enjoyed writing this movement. The eight note pulse gives a driving rhythm while the accents are the theme. After introducing both themes and I put the first theme into a 3 part fugue and theme augment the theme and also use it in diminution ontop of the augmentation. Later on I do the same thing but include the second theme. I hope you enjoy. I'm still making correction and modification on this piece. 4 Pieces I.MID 4 Pieces II.MID 4 Pieces III.MID 4 Piece IV.MID 4 Pieces for WW Quintet. I.pdf 4 Pieces for WW Quintet. II.pdf 4 Pieces for WW Quintet. III.pdf 4 Pieces for WW Quintet. IV.pdf

I love The Nutcracker but I espically love Stravinsky's Rite of Spring. I watched a video the other day on the first performence of it, it was funny with the crowd going nuts. The ballet part of it made me laugh to be honest.

I hate you guys, but only a little now.

I'm willing to donate to keep the site running.