Hegedu

A lovely melody easy to play with a tonality that perfectly fits to violin good sounding. Be careful in your accidentals notation

Many thanks for your input and taking time to deeply analyze the piece..Altough the time signature is 4/4 the melody meant to sound like a slow waltz that why I took some" extensive freedom "with voicing .You're M29 is G# ,I forgot the sharp , More specifically to To Peter: I think I make a mistake in translation of" "Encore" Thhis piece is not meant to be "showy" just a little piece to play when the audience asks for an extra piece (in French we say un "Bis"); IIt has not been premiered yet and I have not recording)

A very short "Encore" piece Balada romántica

With such a music economy can't do nothing but revive and grows stonger than ever. Really a great piece very enthousiastic. At first I was surprised because I undestood "Renaissance as the era before baroque" ,not as rebirth

There is really not much to say about it. The initial constraint was to create a melody that can use only natural harmonics (bars 71-85) in a given tonality to keep the "irish spirit". The resulting pentatonic scale is the second constraint (the dificulty to vary) and the third constraint ( harmonize this melody ) that why I use some techniques of 18th century counterpoint (and other ) freely adapted in my own way that I would not recommand to students. The gigue is an ornament of the melody (mostly neighbourg notes ) it is the only section that appears in two tonalities.. The great challenge for the clarinettist, ,besides the high range (bars 92-101) , is to blend the sound of both instruments with a nice sound in the different registers. The cello part presents two difficulties:, the high notes and the bowing (bars 57-68)

The Mp3 file was previously invonluntary cutted. So I deleted the entire file and upload a new version. Thanks for having mentionned the problem

Short piece written for two spanish soloists (Georgina Sanchez Torres(cello) and Francisco Gil (clarinet).The basic material is the pentatonic scale resulting from the cello natural harmonics on three strings. The very simple melody and the derived gigue explore almost the full range of both instrument El espiritu irlandes

Many thanks for your comments .The captiving effect of this piece rely mostly upon the talent of this very promising cellist

Traditionnal music based on flamenco and andalou sources dedicated to the spanish soloist georgina Sánchez Torres Aires Ibericos

Dear young friend, You clearly seem to consider I am a square man that is not with it. At your age, I would probably have the same disrespectiful attitude toward my father generation,due to spirit of youth. But now I have gained the necessary hindsight and deliver some points to meditate. Music has to be accessible to a majority of musicians.This is possible thanks to tradition ,e.g a set of rules slowly worked out and adopted by mostly all musicians.It often takes several centuries.Tradition is maintained by teachers,what I did here. Evolution requires either slight derivation of etablished rules by rebellious composers(Most of the great composers such Monteverdi,Mozart,Bach)past to posterity. Or theorist that evolve new theories or experiments such the 31-tone technique you seem to refer to. However despiste a large span in its evolution this technique remains confidential and therefore cannot enter the tradition. You may notice that very few theorist composers notoriety last more than a fashionable period compare to the rebellious ones I was born in the Rameau 's country but ,contrary to Germany,his theory was obviously rejected by the way I was teached Harmony 45 years ago. Things seems to change now (250 years later !) Equal temperament waited for more than 2 centuries to be adopted by nearly all musicians. So be patient! Our respective errors were to specify what temperament we consider;anyway it has been an interresting controversy Best regards Ps (I'm still not sure we were talking the same thing :you mentionned 7th harmonic (no S) I was talking harmonics(or flageolet)a glassy specific tones)

I forgot a pôssibility on G string F-F in octave that would yield the F of the first example .Touching natural seventh can't be secure since the sixth harmonics is already a problem.

notation of F on G string is attached (fharm.pdf) fharm.pdf

Sorry for my delay to answer and many thanks for your examples .Here is the answer to our misunderstanding. Those are not natural harmonics(violonistically speaking) but artificial harmonics.In violin nomenclature Natural harmonics are those which the bass note is an open string.In your example there is an addition of a combination of two fingers so your examples are double harmonics which combine a natural harmonics to an artificial harmonics .

Well,it seems there is a very talkative silence!

"Its funny that you can't see how it could be used in practice, since it and has already been in use". For a while.Could you please give me an example! "Depending on the harmonic, its not that perilous:" you're obviously not a violonist