Work In Progress: Sonata for Clarinet

I have been working when I can this past year on a Sonata for Clarinet - the work is for a good friend of mine. Attached is an extract from what will be the 2nd movement.

I really like it but given the context of what the movement is for, I am not sure if it works. I know that sounds dumb but have a listen and let me know. Also, anyone know if I notated my pedal markings correctly? Comments greatly appreciated (and I know I haven't transposed my clarinet yet :P)

(I'm hoping to submit the Sonata as a sample work for postgrad applications - I can talk a lot about my influences on this movement already but given its simple nature would you recommend using it.)

EDIT I finally got the audio working ... its in evil wav format though but it was the only way I could figure it out.

Sonata for Clarinet mov2.pdf

Sonata for Clarinet mov.2.wav

From the comments I received from Thingeh in shoutbox, I went back and looked at the melody. I am still working on bar 16's clarinet part as I am not entirely happy with that but this is more development now.

Sonata for Clarinet mov2.1.pdf

Sonata for Clarinet mov.2.1.wav

I've never heard anything from you before. It's nice to hear something nice like this.

It really, really feels like this piece is not in 3/4. It sounds like it should be in either 4/4 + 2/4, or 6/4. Psychologically, it would help with the direction of the lines, for us looking at the score as well as in aide of the performer.

The harmonies and melodies are very pretty, but both parts are pretty sparse. Sounds at times like the clarinet is being hung out to dry a bit. I personally would flesh out the parts.

However, I don't think that's your vision here. So I'll submit to you that I think many times where you have rests, you could have the clarinet playing in its 'whisper tone' dynamic instead. Clarinets are some of the most fantastic instruments for playing basically niente (second perhaps to violin). Make it sound less 'stop and go,' more ebb and flow. Like the clarinet is hiding at times rather than waiting.

Good luck! Looking forward to the final product.

-Peter

Good luck! Looking forward to the final product.

-Peter

Thank you for the comment. I'm going to look into that time signature issue. My only question there is that the performer I am composing this for does not like "odd" time signatures. The piece I composed that spawned her request for me to write for her was in 5/4. She asked me to avoid time signatures like that but I agree with you on looking at it again.

6/4 is not an odd time signature. Perhaps it is a little odd for a 6th or 7th grader, but even at that point they really should not be shying away from time signatures that aren't 2/4, 3/4 and 4/4. I don't know your situation, so you're probably going to have to play that by ear. We do what our clients tell us.

However, the melody is not in 3/4, so I suppose you have to weigh the benefit of reading in 3/4 versus the cost of basically reading hemiola the whole time.

Wow, time signatures aside. This piece was very emotional. I almost cried... I really like this, a lot. I think you have beautifully poignant material here - would be nice to see this go to a breathtaking climax. I look forward to hearing this completed!

Wow, time signatures aside. This piece was very emotional. I almost cried... I really like this, a lot. I think you have beautifully poignant material here - would be nice to see this go to a breathtaking climax. I look forward to hearing this completed!

Aw! Thanks!

I changed the time signature. A Masters' student should be able to cope with 6/4 and besides its what makes the piece work. I've also developed the clarinet melody further where I already had clarinet playing but I am not sure whether I should add something in bars 5-8. I have a really beautiful piano solo which is after the extract I have posted.