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MOVING (for three clarinets)

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Two Bb clarinets and one Bb bass clarinet, all transposed. In some spots I could have used bass clef, but players didn't like it.

Using several materials: Messiaen's modes combined, add rhythms, atonal series, interval sets, secondal, quartal, quintal harmonies, canon, etc...

Meter is odd, but I think necessary here, otherwise the three clarinets wouldn't be coordinated. That's what Messiaen says: when there are more than one player, use meter...


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Really great work. Luderart's comments about the atmosphere are spot on; it really establishes itself well and that's one of the most important things about music, unless you're deliberately breaking it.
Speaking of which, in the times where you go off the beaten path a little bit, it always seems less... cohesive. This is where the internal meter for each instrument seems to vary more than normal, sometimes in an implied meter. These took away from the experience a little bit, for me personally. but generally very nice stuff.

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1 hour ago, J. Lee Graham said:

Being a more traditional composer, I must confess I don't entirely understand everything you're doing here, but it's one of the more interesting pieces of this kind I've heard in a long time.  

What do the Roman numerals at the head of sections signify?  


They are only the parts of the score. The piece doesn't follow  a tradicional form, it is a Kindle of mosaic form.

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