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September Summer
Klassische Musik/Instrumentalmusik • 2013
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For flute, clarinet and horn, Op.155b
Titel nach Uploader: September Summer, 2013, for flute, clarinet and horn, Op.155b
Instrumentierung |
Flöte, Klarinette, Horn |
Partitur für |
Trio |
Art der Partitur |
Partitur, Stimmen |
Verleger |
I Ching Music |
Schwierigkeitsgrad |
Mittel |
Länge |
5'0 |
This work was revised and completed in September 2013; here in Regina, SK Canada. We are having the most beautiful weather. It what I would hope for year round, but it’s September, which I seldom think of as a summer month; thus the title.
Construction:
This work is not an I Ching Scale based work. In my I Ching scale works, I usually limit myself to only the seven or eight tones of the scale. When I allow myself the freedom of no key, I enjoy not being in any key very much. Part of the playfulness of this work is it free flowing tonality.
I started with a happy and flashy motif in a pentatonic scale, and developed this work freely letting it float around where it wanted to go.
Movement two is based on the melody that is created from the polyphony of movement one measure seven through fifteen.
Movement three is a joyous presentation of the “emergent melody” from movement one measures twenty-five and twenty-six. The movement gets to the point where I didn’t want to decide what key to be in, and I think that’s okay.
For flute, horn and cello, Op.155c
Titel nach Uploader: September Summer, 2013, Op.155c
Instrumentierung |
Flöte, Horn, Cello |
Partitur für |
Trio |
Art der Partitur |
Partitur, Stimmen |
Satz, Nr. |
1 bis 3 von 3 |
Verleger |
I Ching Music |
Schwierigkeitsgrad |
Mittel |
Länge |
4'40 |
Genre |
Klassische Musik/Kammermusik |
This work was revised and completed in September 2013; here in Regina, SK Canada. We are having the most beautiful weather. It what I would hope for year round, but it’s September, which I seldom think of as a summer month; thus the title.
Construction:
This work is not an I Ching Scale based work. In my I Ching scale works, I usually limit myself to only the seven or eight tones of the scale. When I allow myself the freedom of no key, I enjoy not being in any key very much. Part of the playfulness of this work is it free flowing tonality.
I started with a happy and flashy motif in a pentatonic scale, and developed this work freely letting it float around where it wanted to go.
Movement two is based on the melody that is created from the polyphony of movement one measure seven through fifteen.
Movement three is a joyous presentation of the “emergent melody” from movement one measures twenty-five and twenty-six. The movement gets to the point where I didn’t want to decide what key to be in, and I think that’s okay.
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