Concertino for Clarinet and String Quintet

Hello all.

This is a piece I've been working on for a while that showcases the clarinet along with a string quintet. Its in three movements.

The first is a playful and innocent dance like movement.

The second is a slower movement that uses held notes by the strings to emulate the sustain pedal on a piano.

The third is a fast and mean movement that uses a childhood taunt (nanananan you can't catch me) as a main theme.

The three movements are very different stylistically. Which is semi-intentional. My biggest worry about the piece is that the movements don't have enough in common with each other.

I apologize and apologize for the crappy midi, it never plays any of the dynamics right. I'd love to answer and questions or comments.

Concertino for Clarinet and Strings I.mid

Concertinto for Clarinet and Strings II.mid

Concertinto for Clarinet and Strings III.mid

Concertino for Clarinet and Strings I.pdf

Concertinto for Clarinet and Strings II.pdf

Concertinto for Clarinet and Strings III.pdf

I love the atonal-bordering-on-jazzy chords you are using throughout the piece (ex. mm 36-46 in the first movement, 19 onwards in the second, 35-39 and 58-61 in the third movement) and the rhythmic complexities in the third movement. The consequence of this might be, however, that your piece becomes very difficult to play. For example, some of the chords in the slow movement are very tricky if they have to be played non divisi, which will be the case in a string quintet. Also, the first violin especially has a part that could be a concerto in itself! Take care not to overcrowd the texture with too many different lines, especially if your intention is a solo piece with accompaniment-it should be clear which instrument HAS the solo part, which I think is the point of a concerto (or concertino).

You do have a good sense of structuring a piece so that it will proceed in a logical manner--I might just be one of the worst offenders in this category, so I should know;)--every movement has a clear feeling of beginning, development and ending, which is a virtue all of its own. I might even learn some things from this piece!

All in all a more than pleasant listen. Thank you for uploading this!

Greetings, Hugo Bouma

Thanks a lot hugo

Which places in particular are very difficult for the strings? I don't want me piece to be impossible to play because then no one would play it. I could probably recompose it to make it easier

1st movement:

1st violin, measures 64 and 66--two simultaneous notes on the lowest string (G) are impossible to play.

2nd movement:

1st, 2nd violin, viola: these double stops require awkward high positions.

3rd movement:

2nd violin, m.1: unprepared high notes should be avoided

1st violin, m.10: tremolo across 2 strings is kind of awkward

Bass, m. 86: be prepared for a really muddy sound there

Bass, m. 100: avoid double stops when you have only 1 player on the part.

Overall: avoid large leaps, unprepared high notes and quick non-diatonic runs.

I recommend you to read Berlioz's Treatise on Instrumentation for idiomatic writing for strings and also for clarinet, about which I as a string player know very little about.

Hoping that I have been helpful,

Hugo Bouma

ouble stops require awkward high positions.

3rd movement:

2nd violin, m.1: unprepared high notes should be avoided

1st violin, m.10: tremolo across 2 strings is kind of awkward

horsepucky.

a problem only for beginners.

Depends on the intended bowing of those notes. If it has to sound like the tremolo in the other voices, it should be notated as a double-stop with strokes through the stem. If, however, you want the D and C quickly alternating, which is what this notation seems to indicate, they should be slurred together to be played on one bow.

(Both those techniques are indeed not difficult at all, but the compromise--alternating notes combined with tremolando--WILL be very awkward.)

PS. I seem to like the word "awkward" very much; that is simply because it has no direct translation in my native Dutch... :P

I can assure you that a tremolando across two strings is far from "awkward". It is a perfectly normal part of violin technique, and is no more difficult for a performer than any other type of tremolo. I will give you this: yes, it is missing the slur... which is a notation issue, not a performance issue. However, even without the slur, a performed would clearly understand what was intended.

Still not "awkward" or in any way "difficult".

I can assure you that a tremolando across two strings is far from "awkward". It is a perfectly normal part of violin technique, and is no more difficult for a performer than any other type of tremolo. I will give you this: yes, it is missing the slur... which is a notation issue, not a performance issue. However, even without the slur, a performed would clearly understand what was intended.

Still not "awkward" or in any way "difficult".

To add to this, if I may, yes it is basic technique... most intermediate string players are taught this... one word of caution though, remember to think of the strings utilized. String players can compensate somewhat using other positions on the fingerboard BUT if you are having them tremolando the low G string to the high E string (an exaggerated example, yes) it won't do to well.

If, however, you want the D and C quickly alternating, which is what this notation seems to indicate, they should be slurred together to be played on one bow.

No. If he slurs them together he needs to write out the notation properly. The effect of the tremolando, as notated here, is much different than what you are suggesting. A slur would indicate, at least to me, that the measure would need to be played all on the violins D string *the C being played with the 4th finger in 3rd position* and resemble a trill-like alternation - otherwise the measure being played with a slur over two strings rapidly would be much more difficult to play; even for advanced players - which, imo, is bad string writing AND something one seldom ever sees in string repretoire; as it does not take into account the realities of the instrument itself.

Thanks for the comments everyone. I don't play any string instruments so sometimes writing for them is hard.

I have a new score for the second movment though that I think will make it easier to play.

I also have a performance coming up in a couple months that I'm pretty exicted about. I'll post the recording when I get it.

Concertinto for Clarinet and Strings II.mid

Concertinto for Clarinet and Strings II.pdf

No. If he slurs them together he needs to write out the notation properly. The effect of the tremolando, as notated here, is much different than what you are suggesting. A slur would indicate, at least to me, that the measure would need to be played all on the violins D string *the C being played with the 4th finger in 3rd position* and resemble a trill-like alternation - otherwise the measure being played with a slur over two strings rapidly would be much more difficult to play; even for advanced players - which, imo, is bad string writing AND something one seldom ever sees in string repretoire; as it does not take into account the realities of the instrument itself.

the slur would indicate that the bowing across two strings is to be done in one bow. ie: one down bow, with an alternation across two strings, then one up bow with again alternation across 2 strings.

all that is involved is a simple "up/down" of the wrist to achieve the effect - of playing first one string then the next.

strictly speaking, without a slur, it would mean change bow on each note. I doubt any string player would read it that way.

in one bow, it is a very traditional manner of achieving a smooth tremolo.

for it to be played on one string, it would need the added indication "sul III", which would place it entirely on the D string.

Anyways, this is enough fussing over a single measure, in a single instrument. I would instead invite the OP to show his score to a good violinist and confirm either way.

I can only say, as a beginner violist, but mostly as a composer who has had pieces with this particular effect performed already countless times, that as long as the fingering of the two notes is possible as a double-stop, the tremolo effect of bowing alternating across two strings is quite playable.

Since here, one note is an open string, it is quite playable in ANY of the manners so far indicated.

commenting on the first movement:

Well down! You stuck to your motives quite well.

critques:

Measure 66) wonders what would happen if the viola were moved to the offbeat?

Measure 83) Hmm...some much variety already. do we need the eight note patterns? wonders again about making it syncopated.

ending) How about the violoncello ending on an A on the g-string just to make that final note ring with the bass?

Yes I have been working on trying to add more direction to my pieces a lot lately. Especially in these pieces, which are all monothematic, I can understand what you mean by then not going anywhere. Although I had hoped the contrasts between the movements would make up for the lack of contrasts within the moments. This is very valid critique though and something Im trying to work on for my current pieces.

By the way here another version of the second movemnet which I think should be easier to play

Concertinto for Clarinet and Strings II.mid

Concertinto for Clarinet and Strings II.pdf

sigh, I have yet to learn to be patient and spend time writing pieces of this length. I rush through all my ideas so quickly that the piece super short.

But bravo reyeahman! Its very cute, quirky and funny. It seems to be oozing with humor and wit but not to the point where someone laughs at it; its just a very fun piece!

The counterpoint in most cases is very clever and adds a great terraced dynamic to the piece!

i really don't have anything in slightest bit academic to say about this piece other than it was a great listen. Definately needs to get performed. Find a good string quintet and a clarinetist ok! And then get back to us!

Thanks for sharing!

Seems promising! I'm looking forward to the recording!