About the piece
Forest is a study for Bass Clarinet in Bb, which is designed to assist with the development of multiphonics and extended techniques on the instrument. It uses a range of contemporary techniques, which create an ominous feel to the music.
A full explanation of notation and extended techniques can be found in the Performance Notes.
The piece should be started as quietly as possible with a dark and menacing tone. The colour trills (signified by two notes tied with a wavy line above them) is to be played slowly to start off with, as fast as possible in the centre and slowly again towards the end – the dynamics should follow this shape also. Colour trills can be obtained through the use of alternative ‘resonance fingerings’ – these fingerings vary depending on the instrument in use. The resonance fingerings that offer the most significant (but in-tune) changes should be used. Any expression which is felt to be of aid to the effect of the music should be used, particularly in this first section.
The arrow which touches a note and points diagonally downwards signifies that the player should pitch bend the note downwards. If the preceding note is within bendable distance, the bend should last the full duration of the note and should be bent only to the next note. If the bend is outside of bendable reach, then it should be bent as far as possible and only towards the end of the duration of the note.
Where a note is notated with a dot in its centre, with the expression mark “br” used underneath it, the player should blow air through the instrument without voicing an audible / definable ‘note’. Where a diminuendo followed by a ‘0’ is used, the player should fade to silence (as far as is possible on the instrument).
The trills onto a B can be done by pressing the two top side keys of the instrument down simultaneously. The trill can be obtained by fingering the fundamental note (the first note of the trill) and rapidly pressing the top two keys on and off.
Where harmonics are notated, these should be achieved through embouchure changes (unless convenient alternative fingerings can be found). The player should gradually fade into the higher-register harmonics when they are notated, and fade into the fundamental where they are not. This should all be achieved as smoothly as possible.
The use of a tremolando symbol (three lines) on a note’s stave signifies that it should be growled / flutter tongued, according to the player’s preference / ability.
Two notes separated by an open box signify that both notes should be played simultaneously (multiphonics), with an attempt to equalise the dynamics of notes. If complete balance is not possible, the fundamental (lower note) should be prioritised.
An example of an acceptable recording can be found on the artist’s own website / artist’s pages on music distribution services. This should be used in addition to these notes in order to produce an acceptable and authentic performance.
To purchase the score for “City Sounds”, please visit Quinlan Music, where all orders are fulfilled.
All performances of this piece must be carried out with a performance license. The licensing costs for performances of this piece from September 2017 are as follows:
- Single performance; £10
- Multiple performances; £10 for the first performance, followed by £5 for each additional performance.
Amateur performances can be undergone for now charge.
To purchase a license, please contact the Quinlan Music Licensing Department.