Suite

This work is one of many current projects I'm working on to keep myself busy over the summer.

1. Estampie: I have wanted to try my hand at this form for QUITE a long time now. The form is sectional. Sections are called puncta and generally repeated: aa bb cc, etc. At the end of each section you have what are called ouvert or clos (open or close) endings. I set this movement up like this: ax ay bx by cx cy. X and Y being the ouvert and clos endings and a a b b c c being my sections. The A section is fairly monophonic. The B section, on the other hand, is fugal in nature. This is a bit of a departure from the typical estampie form - which is generally monophonic and biphonic. Hope you enjoy.

2. Sarabande no. 1: This movement is patterned after the famous D minor Sarabande by G.F. Handel (who I absolutely adore!). I chose to do this in theme and variation format. Hope you enjoy! So, I made a goof while working on this, lol. In my version of Finale the alto and tenor clefs (both c clefs mind you) are right next to each other. SO, the viola part at the end is accidentally in Tenor Clef on the uploaded score. I fixed it - attached corrected score to thread.

NOTE: The player does NOT work. Click the title to go to the uploaded page on the network. The player works there.

Very nice! Good job with the form, and I liked the interplay between the instruments.

This looks unfinished, though. More articulations and dynamics in general would help with the shape of the lines (as well as the ultimate sound of the piece, both live and electronic), and most importantly, you need SLURS. I understand there are some parts where you might want all the notes tongued or bowed, but there are many places where I would put slurs (mainly for the wind instruments, but strings could use them too). The ending was rather weak..maybe a decrescendo throughout, or else a crescendo to the end and have the last note held longer. A ritard might be nice there, too. All just suggestions, follow or ignore them as you will

For a diatonic piece it held my interest throughout, which is quite an achievement. Great job!

Thanks, Dave. I'm going to be updating this tomorrow. Largely to add the things you mentioned (shaping, slurs, updating the ending.) I just wanted to post this to get more comments. Thanks for listening! I'm glad you liked it!!

Sarabande movement is now uploaded! Enjoy!!!

I think the first movement of the piece really helps drive a point home -- you can achieve some really great harmonic work and sounds only using the "white keys" :) This reminds me of Black Orpheus' "White-Funk" piece which also uses strictly the "white keys", and I remember commenting that I had no idea that a piece could sound like that, harmonically, while not going to a lot of different accidentals. I had that same feeling here ^)^ If you just use your key in the necessary way, you can create some really amazing stuff. And what a fascinating form you chose -- I've never heard of it before.

I really enjoyed the "fugal" aspect of the piece. In fact, the entire piece as a whole seemed geared towards it, like the actual meat of the piece was the fugue, and the beginning section was like an intro just leading up to it.

The Sarabande is beautiful, Jason -- did you write the piece, getting inspiration from Handel? Or is this actually Handel's theme and you've done variations on it? Either way, it's really quite amazing -- it's really haunting!

Thanks for sharing, Woodruff! :phones:

I patterned the sarabande's key and rhythm off the Handel work. The harmony, melody, etc. are all mine. These pieces are mainly for form experimentation - so I'm using a much more 'laid-back' harmonic language. I may place on the title page the composer whom inspired the works. Will have to consider that.

Just reading the score I see it is a strong work - good concept of form and nice use of Phrygian. I like how you stick with the mode - no ficta at all.

My favorite part is where the violin has the large leaps - that will give a nice Stravinskian neo-classical touch. Only question is why you didn't incorporate that figure more into the fibre of the piece?

As for score itself, just watch for one or two collisions with dynamics.

Regards,

Chris Sahar

PS. Hearing the work I congratulate you on a fine job - especially in the Estampie of employing many contrapuntal device to create a direct lyrical work. The Sarabande variations are very good with some shining sections of wonderful lyricism - very cinematic the Sarabande. Just check your score as I heard a wrong note about midway thru the Sarabande.

I really enjoyed this piece, and I agree with what composerorganist said about their being a Stravinskyian neo-classic touch to the piece.

In the Estampie, the modality gave it a modern French feeling to me - every now and then a cadence would strike me the same way Ravel or Satie would. The writing here is very appealing and attractive. Love the staccato sections, really love the fugato.

I wasn't inclined to enjoy the Sarabande as much, but you won me over. Very nice set of variations on a Handelian-type theme.

Must admit that I was thunderstruck at the way you handled the dance rhythm, however, notating what is usually the first beat on the third beat. Was there a particular reason you did this? In every sarabande I've ever seen, including Handel's celebrated on in D minor, the rhythm is written: 1 2 (rest)and | 1 2 (rest) and |... if that makes it at all clear; but you've written 3 | 1 (rest)and 3 | 1 (rest)and ... which makes me wonder if you are making a very specific rhythmic statement thereby. I'm not criticizing, I just would love to know what made you do it this way. Knowing what we know about the dance rhythm, it might actually make better sense!

At any rate, I'm very much impressed.

I really enjoyed this piece, and I agree with what composerorganist said about their being a Stravinskyian neo-classic touch to the piece.

In the Estampie, the modality gave it a modern French feeling to me - every now and then a cadence would strike me the same way Ravel or Satie would. The writing here is very appealing and attractive. Love the staccato sections, really love the fugato.

I really enjoyed working with this old, old form. I felt adding fugal sections would help modernize and expand it a bit. Glad you enjoyed it.

I wasn't inclined to enjoy the Sarabande as much, but you won me over. Very nice set of variations on a Handelian-type theme.

Must admit that I was thunderstruck at the way you handled the dance rhythm, however, notating what is usually the first beat on the third beat. Was there a particular reason you did this? In every sarabande I've ever seen, including Handel's celebrated on in D minor, the rhythm is written: 1 2 (rest)and | 1 2 (rest) and |... if that makes it at all clear; but you've written 3 | 1 (rest)and 3 | 1 (rest)and ... which makes me wonder if you are making a very specific rhythmic statement thereby. I'm not criticizing, I just would love to know what made you do it this way. Knowing what we know about the dance rhythm, it might actually make better sense!

At any rate, I'm very much impressed.

I started it on the and of the second beat to distance myself just a tad from the Handelian Sarabande in d minor. The rhythm, however, is the typical quarter, 1/2, 1/2, rest. Again, that was to distance myself a bit from it.

I ardor the neo-barque in this composition. It is always refreshing when a modern composer returns to earlier period, and composes in it. The first movement had a bouncy feel to it. You always know how to keep us wanting more. The second movement is a nice contrast to the first. But, I am wondering what makes this modern? What makes this composition not barque at all? For this is this most tonal work I have heard of yours, and you usually compose in serialism or atonality. But this is defies this! Reading above post I see hints of modality...