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Klarinet Archive - Posting 000411.txt from 2002/06

From: w7wright@-----.net (William Wright)
Subj: Re: [kl] Bill & Neil's Excellent Adventure
Date: Fri, 14 Jun 2002 04:29:31 -0400

<><> Neil wrote:
Don't get caught up in the minutiae. Enjoy the process of creation, of
stringing a melody together that you can imagine being played by a
clarinetist, and embrace the challenge of how that line's character is
changed as a result of what I decide to put beneath it. That's the point
of this game, isn't it? To see what happens and then go with it, and
watch what develops in continuation of this repeated exchange? Enough
thinking already! :-)

OKAY !!

I hope I'm not usurping your turn at the pencil. The following was
done on a moment's gut impulse.

[Since I'm not supposed to be thinking, I want to thank Manny the Major
Mynah for noticing something about my next two measures, after I had
written them.]

Perhaps these measures establish the audience's expectation that the
melodic lead will alternate between piano and clarinet from time to
time. Obviously (???) it will be your melodic lead after, or in the
middle of, measure 5.

I did read carefully your comment that you are "arbiter of the harmonic
landscape", and that's fine by me. But I'm hoping [I mean, Manny
noticed...] that we're agreed not to 'type cast' either instrument.
Either instrument should be able to take melodic flight with little or
no warning, and the audience shouldn't know in advance when or if this
will happen.

Feel free to slap my wrist if I've overstepped my role.

Measure 3:

G/4 (2nd line treble staff) (was G/2 in previous post)

D/16 (4th line) C/16 B/16 A/16 (down)

F natural/8 (down) E/8 (down)

F natural/8 (up) A/16 (up) B/16 (up)

Measure 4:

C/16 (3rd space treble staff)
D/16 (up) E/16 (up) D/16 (down)

C/4 (down)

A/16 (down) G/16 F natural/16 E/16 (down)

C/16 (3rd space on staff) D/16 E/16 F natural/16 (up)

Measure 5:

staccato C/8 (two leger lines above staff)
staccato D/8 (up)

C/2 (3rd space on staff)

============================

<><><> Our music began with the flamboyant juxtaposition of a D major
chord and a solitary C.

<><> Not so flamboyant, really. It's called a dominant 7th chord, in
this case a secondary dominant in the key of C

Ah, yes. I forgot about *secondary* dominance. Thanks.

Cheers,
Bill

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