beta testing tuba-4-tet element from larger composition
Posted: Mon Jun 29, 2009 3:09 pm
Health and eye problems have kept me away from arranging and composing for some years. The health has improved and a process towards a better eyesight hopefully will start in August. I can read from a computer screen, but I am not happy about reading from sheet music.
You all want some new music, and I need some help testing. Maybe we could create a few overlaps of our needs.
An introduction to my project followed by a bass clef score and parts in bass clef as well as in British treble clef notation:
Bear dance for 4 tubas – test version
Around 2002 I worked with a project concerning simultaneous music in different meters. The complexity is no way near some Indian music, yet opens for come choreography in concerts.
The common denominator of the three sub-ensembles is the 1/8-note = 360, whereas the pulses of the single ensebles are considerably slower.
The bass line of all three ensembles is the same but for some octave displacements and different accents.
The first element composed was the Cavalry March with the ½ note = 90. The ensemble is:
3 trumpets (cornets) in Bb
3 tenor trombones
1 bass trombone
4 timpani in Bb, F, f, and eb, with a simpler version for 2 timpani in Bb and F.
The second element is Light Infantry band marching at the dotted eight-note = 120. The ensemble basically consists of the band members left over, when the above instruments and the tubas are taken out to form their own ensembles, all woodwinds, and all brasses from euphoniums and up plus side drums.
The 3rd element is a 4 part tuba ensemble doing a Bear Dance at the dotted half-note = 60, which is the same as a waltz.
The top line could be played on euphonium, but that would take the fun out of this element, which is the object of this test release.
The score only comes in bass clef concert, whereas the actual tuba parts come in bass clef concert as well as in treble clef notation for the standard 2 Eb and 2 BBb tubas of the British Brass Band tradition.
The final version is planned to let the 3 elements be introduced separately and then interact as aural and visual Quod libet’s as the local band director finds working best for his/hers ensemble and performance environment.
Klaus Smedegaard Bjerre in Korsør on June 29th 2009
You all want some new music, and I need some help testing. Maybe we could create a few overlaps of our needs.
An introduction to my project followed by a bass clef score and parts in bass clef as well as in British treble clef notation:
Bear dance for 4 tubas – test version
Around 2002 I worked with a project concerning simultaneous music in different meters. The complexity is no way near some Indian music, yet opens for come choreography in concerts.
The common denominator of the three sub-ensembles is the 1/8-note = 360, whereas the pulses of the single ensebles are considerably slower.
The bass line of all three ensembles is the same but for some octave displacements and different accents.
The first element composed was the Cavalry March with the ½ note = 90. The ensemble is:
3 trumpets (cornets) in Bb
3 tenor trombones
1 bass trombone
4 timpani in Bb, F, f, and eb, with a simpler version for 2 timpani in Bb and F.
The second element is Light Infantry band marching at the dotted eight-note = 120. The ensemble basically consists of the band members left over, when the above instruments and the tubas are taken out to form their own ensembles, all woodwinds, and all brasses from euphoniums and up plus side drums.
The 3rd element is a 4 part tuba ensemble doing a Bear Dance at the dotted half-note = 60, which is the same as a waltz.
The top line could be played on euphonium, but that would take the fun out of this element, which is the object of this test release.
The score only comes in bass clef concert, whereas the actual tuba parts come in bass clef concert as well as in treble clef notation for the standard 2 Eb and 2 BBb tubas of the British Brass Band tradition.
The final version is planned to let the 3 elements be introduced separately and then interact as aural and visual Quod libet’s as the local band director finds working best for his/hers ensemble and performance environment.
Klaus Smedegaard Bjerre in Korsør on June 29th 2009