July 24, 2025Jul 24 Hello @InterstellerApex and welcome to the forum! I like this chamber piece! It's simple and melodic and wears its heart on its sleeve. Thanks for sharing! Just some nit-picks - why is there a long silence at the end of the piece? Also, in measure 29 I perceive the metric alignment of the music to shift by one beat. So beat 2 becomes beat 1 (I perceive the Bb in the Clarinet and Piano in the beginning of that measure to be a pick-up note). The same thing happens again in measure 44.
July 24, 2025Jul 24 Author Oh, I don't know about the long silence, must have accidentally included it when rendering the WAV. Uh, I couldn't find the pickup you were talking about, also could you clarify what the metric alignment is? I never studied music theory yet (I'm not in high school yet).
July 25, 2025Jul 25 Thanks for your reply! 5 hours ago, InterstellerApex said: Uh, I couldn't find the pickup you were talking about, also could you clarify what the metric alignment is? Here's what measure 29 should look like if the beats were aligned properly according to the correct placement of strong and weak beats in your piece: It makes a very small and barely noticeable difference in the recording. But, especially if you ever gave this to real performers, it would bother a performer to read the music feeling like the strong and weak beats are in the wrong places in relation to the bar lines. In 4/4 beats 1 and 3 are strong beats and beats 2 and 4 are weak, but here you in measure 29 you had them switched. But sometimes composers do do this deliberately as in Tchaikovsky's Symphony No. 4 Pizzicato Ostinato or Stravinsky's Last Piano Etude (in F#) from his 4 Etudes for Piano. I hope this clears up any confusion! Thanks for asking.
August 12, 2025Aug 12 Only Weber could write for clarinet. A bit of late Mozart and Brahms. Carry on!
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