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- Submitted: Sep 27 2011 01:55 PM
- Last Updated: Oct 29 2011 05:42 PM
- File Size: 4.89MB
- Views: 3572
- Downloads: 403
- Genre: Contemporary
- Sub Genre: Modernism
- Form: Piece
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Falling Ash (for solo flute)
2 Votes
2
This work, as short as it is, has taken me about a month or so to compose and I feel this is very close to being the final version of the piece (at this time, of course). I shared the first version in the shout box and those who may remember it will instantly notice the vast changes that have occurred in the intervening revisions of the piece.
A little about the piece:
1. The piece is inspired by two things. First, the subtleties and extreme range usage found in French music for the solo flute (such as works by Tristan Murail, Boulez, Philippe Hurel, Andre Jolivet, and Jacques Hotteterre). Second, the nature of a falling ash ember.
2. The opening material dominates the entire work - with sort of an exception in the extrapolated material that became the basis for the second section.
3. The overall structure is ABA'. The A' section is a bit of a fun section - I'll see who notices what I've done!
Some of the changes I plan to make to this are an expansion of some key points in the piece. (Notably, the second section climactic point and the final nature of the codetta at the end - where the ash ember falls to it's final resting place). I may also look at expanding some of the original A section, but not sure yet - largely cause an expansion of that would, ultimately, also require a major change to the A' section.)
Feel free to share your comments on this! I'll upload the final version here in a few weeks.
UPDATE: I've expanded this from the 3 mins to a little over 5 mins. The midi rendering does NOT give the work justice at all - some of the accel. and rit. passages especially. Enjoy the updated version!
I am not able to post my scores on here any longer due to contractual reasons with my publisher. Sorry guys.
A little about the piece:
1. The piece is inspired by two things. First, the subtleties and extreme range usage found in French music for the solo flute (such as works by Tristan Murail, Boulez, Philippe Hurel, Andre Jolivet, and Jacques Hotteterre). Second, the nature of a falling ash ember.
2. The opening material dominates the entire work - with sort of an exception in the extrapolated material that became the basis for the second section.
3. The overall structure is ABA'. The A' section is a bit of a fun section - I'll see who notices what I've done!
Some of the changes I plan to make to this are an expansion of some key points in the piece. (Notably, the second section climactic point and the final nature of the codetta at the end - where the ash ember falls to it's final resting place). I may also look at expanding some of the original A section, but not sure yet - largely cause an expansion of that would, ultimately, also require a major change to the A' section.)
Feel free to share your comments on this! I'll upload the final version here in a few weeks.
UPDATE: I've expanded this from the 3 mins to a little over 5 mins. The midi rendering does NOT give the work justice at all - some of the accel. and rit. passages especially. Enjoy the updated version!
I am not able to post my scores on here any longer due to contractual reasons with my publisher. Sorry guys.
That's the part I'm going to add too, definitely. Just mulling over how I want to do it. And what piece did Haydn do that in? I'm very familiar with his work and never noticed he did that in a piece.
Good, can't wait to hear the revisions! His symphony number 47 third movement.. if you're into the second viennese school (as your picture suggests) - Berg and Webern did it aswell 
I've tried doing it myself but I always seem to end up with rather unsatisfactory harmonic implications..
I've tried doing it myself but I always seem to end up with rather unsatisfactory harmonic implications..
Interesting, I didn't know Haydn did that. I know a lot of modern works that do it - it's a fun thing to do. I didn't do a full on retrograde of the first section though... I added (And probably will add more) a lot of variant material of the main idea.
Well, it is definitely too short for one reason ... I want more longer contemplative lines to end the piece. As if in the running around the character of the piece finds a moment to breathe and sing, you could end with a faint recall of the fast A section.
Improvements I hear already:
Greater rhythmic freedom for example the move back and forthe of division of 3 and 4 work well.
Your use of material is far more varied while keeping to a few central motifs.
Better counterpoint implied by one line.
Excellent work so far.
Improvements I hear already:
Greater rhythmic freedom for example the move back and forthe of division of 3 and 4 work well.
Your use of material is far more varied while keeping to a few central motifs.
Better counterpoint implied by one line.
Excellent work so far.
Very nice, I don't play the flute, I know kinda know the fingering as theory.. It create such unique ambient, I trust in you Jason, just do what you feel.
THE SCORE IS AWFUL, WHY DO YOU MAKE MY EYES BLEEEEEEDDDDDDD!!!!!!!!>!>!>!#@$
I don't have time to listen and review right now, but I definitely will when I do have the chance.
I don't have time to listen and review right now, but I definitely will when I do have the chance.
you mean by fun that A' is starts as the retrograde? I like that
Well, it is definitely too short for one reason ... I want more longer contemplative lines to end the piece. As if in the running around the character of the piece finds a moment to breathe and sing, you could end with a faint recall of the fast A section.
Definitely! That's one of the things I was thinking about myself!
Thanks Chris!Improvements I hear already: Greater rhythmic freedom for example the move back and forthe of division of 3 and 4 work well. Your use of material is far more varied while keeping to a few central motifs. Better counterpoint implied by one line. Excellent work so far.
Daniel: Well, I'm glad you trust in me!
Jaap: Yes! Though, it's not an exact retrograde and I'm probably going to play around some with some of the figures - just to expand that section.
Very cool piece -- I have to admit, I wasn't sure what kind of quality to expect from a solo flute (not really my thing -- you're an excellent composer, but I have wondered why you have such fondness for solo treble instruments! 
), but I was pleasantly surprised by this.
I think I get why you call it "Falling Ash" -- the way the flute's melody violently goes up, down, up, down, throughout most of the piece, to finally settle on the ground at the end, is like the ash being tossed by a harsh wind, finally finding relief at the end to rest on the ground.
Also, the tone of the piece is simply "mysterious", not also "dark" -- I was wondering if the "ash" you imagined was caused by a bomb, or something similarly cataclysmic, but I dismissed it based on the tone. It sounds more like something that would appear on "Fantasia". Am I right?
Thanks for sharing this -- I'm really impressed!
), but I was pleasantly surprised by this.I think I get why you call it "Falling Ash" -- the way the flute's melody violently goes up, down, up, down, throughout most of the piece, to finally settle on the ground at the end, is like the ash being tossed by a harsh wind, finally finding relief at the end to rest on the ground.
Also, the tone of the piece is simply "mysterious", not also "dark" -- I was wondering if the "ash" you imagined was caused by a bomb, or something similarly cataclysmic, but I dismissed it based on the tone. It sounds more like something that would appear on "Fantasia". Am I right?
Thanks for sharing this -- I'm really impressed!
That's why I love you, Zach, you always get the idea immediately! You're amazing!
WOW! The changes you made are fantastic! I only have one thing: I think that going 60 100 60 100 all the time needs a change. how about one section a little more than 100 or 60, and one a little less than 100 or 60?
Great work though!
Great work though!
I thought about that actually. The sections though are Rubato - so the M.M. aren't going to be precise anyways. Thanks for listening!
First off midi doesn't catch all the nice intonational shadings a flutist would give. A couple of things - place the mertronome marking below the text and expression. I mean a performe rwill get it but it will look very clear if you do that so the metronome marking is applied to the bar where it starts rather than letting the text have it drift over a few bars.
Second, the long notes - midi has this habit of making long notes sometimes sound longer than they really are - it is because the tone is kept so damn steady. So consider the most important high notes in your piece and consider extending them slightly
Love the fluttertongue to ord on that note, I'd like to hear more of that - in the low range it would be gorgeous - especially at the end of the piece.
Now here is a suggestion from left field - have you thought of obtaining some of the high notes thru harmonics - it gives it a breathier lighter sound - it can be quite beautiful.
Overall the piece has exactly enough ideas and worked out just right this will be a winner - just consider the idea about the fluttertongu effect and makes sure your tempo changes are made clearer with how you place your metronome markings.
Second, the long notes - midi has this habit of making long notes sometimes sound longer than they really are - it is because the tone is kept so damn steady. So consider the most important high notes in your piece and consider extending them slightly
Love the fluttertongue to ord on that note, I'd like to hear more of that - in the low range it would be gorgeous - especially at the end of the piece.
Now here is a suggestion from left field - have you thought of obtaining some of the high notes thru harmonics - it gives it a breathier lighter sound - it can be quite beautiful.
Overall the piece has exactly enough ideas and worked out just right this will be a winner - just consider the idea about the fluttertongu effect and makes sure your tempo changes are made clearer with how you place your metronome markings.
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Good piece! I only wish you had made more of bars 34-36, I was starting to enjoy that idea!