Piece for clarinet and piano, rearranged for clarinet and guitar

[Adrian Allan]

Last week I posted my piece for clarinet and piano. Thanks for all your responses. An amended version incorporating some suggestions will be ready soon.

In the meantime, I have rearranged it for clarinet and guitar. Find it here, click on mp3 button to hear.


www.scoreexchange.com/scores/158527.html

This took a lot of work and thought. Changes include.

Changes to arpreggios of 1358 form in piano to idiomatic guitar arpeggios

Idiomatc accompaniments a lot different from the piano, eg first section

The need to score in 3 voices at times to reflect the bass, melody and inner voice of the piano

Some harmonics

And other things, too many to mention

I would like to know what you all think. It might be better for guitar and clarinet.

[Adrian Allan]

The piano version is here. See which you like the best

http://www.scoreexchange.com/scores/158271.html

[John Summers]

Overall, I think the 'conversation' aspect was true to form - I think guitar with a woodwind is eminently suitable for this.

Structurally, I yearned for a few things I felt were lacking, mainly, some variations in the guitar inversions - especially the first four minutes or so all felt like they were in the same range, and some work higher up the fretboard would bring some good contrast - and the other was the timing of the clarinet line: I don't think I heard one dotted phrase, or a demi-semi, or an arpeggio or appogiatura, all of which are characteristic of the instrument and add colour and flow to the line without disturbing the mood.

John

[michael diemer]

Adrian, you're probably going to be angry with me, but I think the accompaniment you're trying to create here might actually be the harp. This works much better for harp than either piano or guitar, in my opinion. The harp would give you the delicacy you need on those arpeggios. It's a really pretty piece, and has a lot of potential. I know you've now done two versions, but if you have the time, you might consider trying it. I'm positive the result would be worth the effort.

[Adrian Allan]

Thanks for the comments. I will be acting on any suggestions, what you see is not the final version necessarily.

Michael, I could rearrange for harp, but wouldn't have a clue how to begin. It is a very difficult instrument to write for, with the pedals etc.

[michael diemer]

You could do it for Irish Harp, which has no pedals. then all you need to know is the range. It would be much like writing for guitar.

[Adrian Allan]

It's an idea. I like to play instruments a bit before I write for them. So if I ever buy a harp, you never know...

[michael diemer]

I almost bought an Irish Harp a long time ago, sure wish I had...anyway, you could use any harp sample you have, just keep in mind the range, and pretend it's an Irish harp. the reason I'm "harping" on this is that the piece, at least to me, has a delicate, Debussyish quality that a harp would be perfect for. I've never heard that combo before, but I'm sure the two instruments would get along. And your clarinet melody cries out for it, to my ears. But I know it would be more work. Perhaps you could keep it in mind for some time in the future.

[Adrian Allan]

I have made a number of changes, to what I now consider a final version. 

The register of the clarinet has been raised in places, and the guitar has a go at the melody in more places.

https://soundcloud.com/adrianallan/intimate-conversation-for-clarin...

PDF attached