Winter - For Clarinet And Viola

The tongue flutter is used in practically all wind instruments.

Aspirante wrote:

Never heard of it and never heard of the "frullato" [whirl/blender]

I had understood that it was a manuscript, but instead it looks quite printed to me ... either you are also a surveyor or you used a notation program. Which one? Mine only gives me the round ones

I used Sibelius... it's in there. But also on Finale, I believe.

I have read many comments, and ultimately what needed to be said has been said, but I join in the compliments because, in its genre, it is a beautiful piece done very well

I also believe that pure dodecaphony is now almost an exercise, much like chorales with the prohibition of fifths eheh, but you managed everything well and even the ear is quite satisfied, also thanks to the duration which is perhaps ideal for not losing attention in a dodecaphonic piece.

Here, as a personal taste, I feel the lack of a bit of "violence", at least one section opposed to the enveloping but uniform softness of the entire piece;

it is short so it works like this too, but if it were just a little longer ....

curiosity: is it all strictly dodecaphonic or did you take some liberties?

suonolatromba wrote:

I used Sibelius... it's there. But also on Finale, I think.

I can't find it in Finale... I'll ask. Thanks anyway

suonolatromba wrote:

The classic crowned dot indicates a longer pause than the "triangular" one.

There is also the crowned "rectangle," and it indicates a longer pause than the classic crowned dot.

Honestly, I didn't know at a theoretical level the difference between the three types of crowned dots; I considered it a matter of taste. Are you sure? ... references?

DiesIrae wrote:

Honestly, I didn't know the theoretical difference between the three types of dotted notes; I considered it a matter of taste. Are you sure? ... references?

Let's just say that I have surely seen it in some score, though I honestly wouldn't be able to point it out to you. Then, my professor surely taught it to me. In any case, I believe it is quite commonly used because neither of the two performers ever asked me anything about it, while still respecting the difference between the classic dot and the triangular fermata. Therefore, I didn't think I had to explain what it meant in the legend.

A note on my score, even if it won't be necessary: obviously, every accidental is only valid before the note on which it appears.

AleGozzo wrote:

I have read many comments, and ultimately what needed to be said has been said, but I join in the compliments because, in its genre, it is a beautiful piece done very well.

I also believe that pure dodecaphony is now almost an exercise, much like chorales with the prohibition of 5ths eheh, but you managed everything well and even the ear is quite satisfied, also thanks to the duration which is perhaps ideal for not losing attention in a dodecaphonic piece.

Well, as a personal taste, I feel the lack of a bit of "violence," at least one section contrasting with the enveloping but uniform softness of the entire piece;

it is short so it works like this too, but if it were just a little longer ....

curiosity: is it all strictly dodecaphonic or did you take some liberties?

Thank you Ale for your contribution!

Well, it should (and I say should because it is an obligation) be very rigorous; I remember that at the time I checked every note, and it wasn't simple because perhaps the series is split between the two instruments, or perhaps I start from note number 3 of the series and from there I start the series... in short, I checked and it seemed good to me... but I don't exclude that something might have escaped me.

Bravo Matteo.

Do you see differences or do you understand the differences stated at the end of the page specifically regarding the crown?

http://electricguita...wp/?page_id=292

Listened, personally I "don't mind" the background noise, even if in some cases it is deleterious, because it provides that sense of truth and naturalness that is totally

absorbed in a recording studio.

For me, the piece is also short; with this type of approach, it could be developed (and I say this knowing it's almost blasphemy since development is precisely my

main problem, besides the others that precede and follow it) up to 10 minutes or more.

Furthermore (I always insist on specifying this when it "happens") listening to it stimulated me, thinking about

the entry of other instruments, primarily strings; they would be perfect

as "companions" to the two soloists.

It's true that the piece could have been at most for 3 elements, but if I were you, I would think (if you haven't already) about an orchestral version, perhaps a string orchestra

and 2 solo instruments.

I enjoyed it very much, compliments