Jump to content

Recommended Posts

Short piece with 3 flutes, 3 clarinets, 3 bassoons, 4 french horns, 3 trombones, timpani, harp, 3 violas, 3 cellos.

It is based on Messiaen's mode 2 and quartal/quintal harmonies, and several techniques of mass sonority (Ligeti, Xenakis, Penderecki, et...)

MP3
0:00
0:00
PDF
Link to comment
Share on other sites

Neat, very modern-sounding. A couple of questions:

  • Would you mind showing how/where you used the 2nd mode of limited transposition? I looked but couldn't find it.
  • I was curious how you built the quartal melody in the woodwinds at 8-13. Is there some kind of scale these are built off of, or are they just parallel quartal voicings chosen to taste?

Also a few comments/observations:

  • Clarinets are typically written in Bb or A, I don't think C is very common any more.
  • The 1st horn going up to high D in m.34 is pretty extreme, especially at pp. Generally high C6 (written) is considered the top limit.
  • The 1st trombone on D5 in m.35 is doable, but is also near the extreme upper limit. 

Thanks for sharing!

Link to comment
Share on other sites

21 hours ago, gmm said:

Neat, very modern-sounding. A couple of questions:

  • Would you mind showing how/where you used the 2nd mode of limited transposition? I looked but couldn't find it.
  • I was curious how you built the quartal melody in the woodwinds at 8-13. Is there some kind of scale these are built off of, or are they just parallel quartal voicings chosen to taste?

Also a few comments/observations:

  • Clarinets are typically written in Bb or A, I don't think C is very common any more.
  • The 1st horn going up to high D in m.34 is pretty extreme, especially at pp. Generally high C6 (written) is considered the top limit.
  • The 1st trombone on D5 in m.35 is doable, but is also near the extreme upper limit. 

Thanks for sharing!

 

This is Messiaen's mode 2908327303_Capturadepantalla2021-02-24alas17_59_47.png.32c0fae0725e4a6a1496b73ef972372f.png

In the first part is where I used it the most. The majority of notes here (in concert pitch to see it clearly) are in the mode. Sometimes I write other ones, as F natural, I don't mind, I use this things the way I like.

257849178_Capturadepantalla2021-02-24alas18_03_03.thumb.png.120eff9c32f131dfa7b292a0621b8f20.png

 

 

 

I was curious how you built the quartal melody in the woodwinds at 8-13. Is there some kind of scale these are built off of, or are they just parallel quartal voicings chosen to taste?  No, they don't fit in any scale. The intention was to make a mirror movement between flutes and clarinets.

 

You're right about the Clarinet in C, I have to change it to Bb.... Thanks.

I'm aware of the extreme range of some pitches, but it is one of the features in this style. As it happens with the bassoon in Stravinsky's Spring.....

Link to comment
Share on other sites

1 hour ago, BritishCompositeur said:

Sounds great! I'd love it to be extended a little, since it sounds a little abrupt. That horn gliss, how precise do you want the players to handle it (which notes at what time)? It can't be entirely smooth over the whole minim length, is my understanding...

 

Hi. I wouldn't care about the exact playing here. As you see this mass sonority style is defined by the indeterminacy, too. I only took care that the glisses were doable (hope so).

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×
×
  • Create New...