Sonata for Clarinet & Piano - I. Lyric

Here is a piece I hope to compliment with two more pieces for a more complete sonata -- this is only the first movement. I've spent a while working on making my writing more concise for chamber settings, and once I actually write this whole piece, I plan on getting it performed and recorded. A large focus on this piece is varying textures and moods efficiently, as well as using the different motifs and melodic fragments to construct the music, concerning myself less with harmonic relationships etc.  I've included a score in concert pitch, as well. Suggestions are helpful, and thanks!

P.S. I attached a poem by William Carlos Williams, which helped me start the piece

P.P.S. I appreciate all the comments, especially on the difficulty of the piano part, and when I finally incorporate this piece into a full sonata, I might re-evaluate certain places. The feedback helps a ton!

Nice piece.

The interaction between piano and clarinet is very good.
I have my doubts about the very quick staccato notes in the clarinet part.
Do you know it this is possible? It would be incredibly hard on saxophone.
Legato passages are no problem.

3 hours ago, Maarten Bauer said:

Nice piece.

The interaction between piano and clarinet is very good.
I have my doubts about the very quick staccato notes in the clarinet part.
Do you know it this is possible? It would be incredibly hard on saxophone.
Legato passages are no problem.

 

Thanks for the comment! I think I might be able to clarify the usage of staccato, and maybe just write a note in some sections to play lightly/separated without an expressed articulation. Thanks

It would take someone with very advanced skill to play the piano's fast broken chords. However, it's well written with the occasional unexpected, but interestingly sound tempo/mood change. One thing to perhaps think about next time is that sometimes, the mood changes too quickly in my opinion. For example, when you express a sad feeling of some sort, please drag it out longer. The theme sounds really nice and it'd be a waste just to leave it like that. Overall, it just has a modern, but acceptable vibe to it. Good work 

11 hours ago, Maximus said:

It would take someone with very advanced skill to play the piano's fast broken chords. However, it's well written with the occasional unexpected, but interestingly sound tempo/mood change. One thing to perhaps think about next time is that sometimes, the mood changes too quickly in my opinion. For example, when you express a sad feeling of some sort, please drag it out longer. The theme sounds really nice and it'd be a waste just to leave it like that. Overall, it just has a modern, but acceptable vibe to it. Good work 

 

Thank you very much for the feedback. It is definitely not for the faintest of heart, especially in terms of the piano. I wrote this piece actually for one of my professors! I was also quite focused on the mood changes, as you mention (often coinciding with textural ones). It was very intentional for the moods to change quickly, as I like the continuous change and variety that can bring; though, I can see the benefit, for sure, of maybe taking each section further. I would only fear disrupting the overall flow of the piece if I did that too much. I'm not completely sure what you mean by "acceptable vibe," but I appreciate the criticisms!

2 hours ago, Jared Steven Destro said:

 I appreciate the criticisms!

 

Just remember that critiques are subjective opinions based on one's understanding of something if your profs like it, you did your job well!

20 hours ago, ilv said:

I generally agree with all of the above comments. The transitions are smooth. The piece is modal. Well done!

 

Thanks a lot!

Hi Jared, 

I really enjoy your piece! I love the clarinet part. Especially the fast arpeggios! They create an interesting texture. And I like the playing with the shifting moods, a lot!

A couple things I noticed that would be very hard (which is okay, I just wanted to make sure you knew) were the jumpy piano chords in mm. 60 and again in mm. 230. It would be easier if the hand position didn't change so quickly, but you have to reconfigure your hand for each chord. It is possible, but it would take a *very* skilled pianist.

Also: I read that you were paying more attention to developing melodic motifs and ideas rather than harmonic relationships in this piece, but I would still make certain that you stay within the same harmonic language most of the time. It can be confusing for listeners if your harmonies and progressions hop between eras of music. Tying together a piece with motifs is essential (and I feel you've done it very successfully), however its also essential that you establish a sound world and stick within it for the most part, in my opinion, at least. 

Thank you for sharing this piece of music with us! It's so much fun and I look forward to hearing the next two movements! 

Please note: I am just a student, so take my feedback with a grain of salt :)

8 minutes ago, ilv said:

I personally do not mind mixing multiple harmonic languages in one piece, as long as it's done in a reasonable fashion. I have personally done this in my own pieces. The OP has demonstrated good mixing of harmonic languages.

I'm just not sure my ear fully understands what is happening when we suddenly slip between functional and non-functional harmony. If that makes sense? 

3 hours ago, Jarron.Carlson said:

Hi Jared, 

I really enjoy your piece! I love the clarinet part. Especially the fast arpeggios! They create an interesting texture. And I like the playing with the shifting moods, a lot!

A couple things I noticed that would be very hard (which is okay, I just wanted to make sure you knew) were the jumpy piano chords in mm. 60 and again in mm. 230. It would be easier if the hand position didn't change so quickly, but you have to reconfigure your hand for each chord. It is possible, but it would take a *very* skilled pianist.

Also: I read that you were paying more attention to developing melodic motifs and ideas rather than harmonic relationships in this piece, but I would still make certain that you stay within the same harmonic language most of the time. It can be confusing for listeners if your harmonies and progressions hop between eras of music. Tying together a piece with motifs is essential (and I feel you've done it very successfully), however its also essential that you establish a sound world and stick within it for the most part, in my opinion, at least. 

Thank you for sharing this piece of music with us! It's so much fun and I look forward to hearing the next two movements! 

Please note: I am just a student, so take my feedback with a grain of salt :)

 

 

Thanks for the comments! I could see your point, definitely, in that staying in the same/similar harmonic language can be beneficial (I generally work like this). I don't have any particular reason for thinking modally in one moment, and more conventionally in another -- it turned out that way and I like how it worked  :P