196,956 users have contributed to 43,044 threads and 258,500 posts.
In the past 24 hours, we have 3 new thread(s), 13 new post(s) and 59 new user(s).
This is a demo dedicated for [i]contrabass clarinet[/i]. It is written for C-B clarinet and orchestra.
[url=http://www.guybacos.com/audio/Voices%20from%20Beneath.mp3]Voices from Beneath[/url]
[size=10](The contrabass clarinet used in this demo is from the VSL download section)[/size]
Comments are appreciated, as always.
I really like the atmosphere of this one and makes me realize a solo can be written for this instrument which is almost never written for soloistically. The only time I ever heard a contrabass clarinet live was when I was in symphonic band and it would just play doublings. This is similar to the practice with contrabassoon which usually just doubles for added reinforcement in the low range. But I am noticing - now that I can use a contrabassoon (which I was never able to do with live orchestra) that the sound of the instrument is very intriguing and makes one want to write a solo. Guy's very imaginative scoring here is doing just that sort of thing with the clarinet.
Thanks William!
The contrabass clarinet goes nearly as low as the lowest note on the piano, and so my goal was to write a melodic line that would specifically work for that instrument and not just support or double a bass line an octave lower. The orchestral atmosphere was essential to support that sub low timbre. It was quite a challenge. :)
You did it.
This has helped me in my normal routine of thinking about writing for very weird ensembles - currently an orchestra consisting of contrabass clarinet, contrabassoon, bass flute, string bass and a viola. With some percussion and harp.
Doesn't it seem that one of the areas that modern composers have forgotten in their quest for new sounds is simply orchestration of this kind? Using instruments and combinations that are not written for normally. It is obvious why - because they can't get it played! But with samples we can do huge amounts of experimentation with strange combinations. Somewhat like Bernard herrmann being given free reign to use any ensemble he wanted. I remember for example an entire score he did for Alred Hitchcock Hour which was for bassoon ensemble alone. No other instruments. And it was perfect.
Anyway that is a great piece and congratulations on all your fine work here.
BTW William, you'll notice if you listen to this piece in the recently added demo page, it's a different version, there is a solo bit at the start. This was to give a chance for the people not familiar with this instrument to hear it alone for a few bars. Thanks again!
P Paul moved this topic from Orchestration & Composition on