Third Scarecrow

Hello

A new miniature, for bass clarinet and percussion ensemble.

This is the third piece in a small series of scarecrow portraits.

Hello,

I think I like this a good bit! The unnatural velocity (in DAW terms) of the bass clarinet makes it hard for me to follow the line. Like, the bass clarinet's blend does not make it as cohesive to follow as the percussion. I love the percussion, especially because it sounds pretty realistic. 

While I love the percussion, that is also what I want to comment on. It of course sounds nice. But, with the ranges you use, the constant activity of the percussion, and the lack of switching instruments you use, the percussion just sounds the sound the whole time. There were several moments where the vibes were playing a repeating line. Could have been cool to have it slowly morph into a set of toms playing a different groove. Or to utilize more of the timbres available even by the vibes.

More lows, less sustains, possibly the glock could play some colorful out-of-chord notes. The percussion sounds are in the box and I want to hear you take them out of the box more.

- Evan

Hello, thank you for throwing your expert ear on my little scarecrow.

I can understand your opinion. The texture is indeed continuous, and the choice of having two blade instruments that complement and take turns is a way for me to build the accompaniment of this unique protagonist who is the bass clarinet. (Marimba and vibraphone, with occasional intervention of a glockenspiel). The rest of the set (requiring a third percussionist includes: crowtles, tam, tubular bells, triangle, cymbals, woodblocks, snare drum. and there is no other skin instrument such as drums, bass drums, or timpani. It is also a choice.

My old age sometimes makes me make decisions that young people don't like ;)))

Well, I love this work.
The resources you get with percussion are fantastic.
I understand it more as a succession of small sound masses whose intention is not so much to be excessively clear in each individual element, a bit in the style of micropolyphony and “soundscapes”.

Hi Jean,

I love the combination of bass clarinet and the percussion! I think they provide great contrast with the low register bass clarinet and the higher pitched percussion.  I actually love the similar pitch of the glockenspiel, marimba and vibraphone, and those repeating lines. It reminds me of Gamelan music which I love. When the same thing keeps happening it forces you to think of different imagination yourself, plus the colour of the piece is as great as usual. Thx for sharing!

Henry

Hi @Krisp!

Very nice rendition once again with very realistic sounding samples/sound-fonts!  The combination of pitched percussion instruments and bass clarinet is quite unique, and you use the bass clarinet in a varied way.  There is much dynamic dovetailing of the various clarinet lines in and out of the foreground.  The thematic material is unusual but very idiomatic for the bass clarinet and the solo section exemplifies this well.  The ending is especially magical sounding because of the major tonic chord contrasted with the flat submediant chord which Tchaikovsky was especially fond of utilizing in this way.  Thanks for sharing!

Hello @Krisp I really like this work, it is dark and unsettling and really effective because you distance yourself from any human emotion except in one part (the solo clarinet) so it intensifies the emotion of that section (which is something I never thought I would say). The accompaniment in the beginning lingering between a major and augmented chord reminds me of ondine.

How do you structure your pieces? How do you write harmony in this unsettleing way?

Thanks for sharing

Manuel