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Tides Bb clarinet and Electronic Playback

Bret Bohman

This work was jointly commissioned by the Missouri Music Teachers Association and Music Teachers National Association in 2019 as part of the MTNA Composer Commissioning Program

2019


This work was jointly commissioned by the Missouri Music Teachers Association and Music Teachers National Association in 2019 as part of the MTNA Composer Commissioning Program and was premiered at the MMTA/MTNA Conference in Springfield, Missouri on November 9th, 2019. Performed by Carolina Heredia. Many thanks to Yoshiaki Onishi and Carolina Heredia for all their help and patience in making this composition a reality.


Program Note The general shape or image that inspired Tides (2019) is that of a sine wave and other similarly shaped periodic waveforms. The large-scale structure of the work roughly imitates 1 ½ cycles in terms of overall dynamics, density and energy. Similarly, on the small scale, much of the material takes on a sinusoidal nature as well. The clarinet lines often consist of large leaps up and down creating a swinging shape. The electronic sounds utilize a low frequency oscillator applied to the amplitude of various sounds using rounded square waves shapes creating a rhythmic, “chopper” sound. I became fascinated with using this representation of a cycle after a conversation I had with my father and uncle during the summer of 2019. We were discussing the global climate crisis and how they were not going to see many of the drastic effects ahead but that I would live to see it. It was a striking enough conversation for me, in this casual mention of mortality, that I decided to explore the nature of a cycle which is then abruptly changed. In as many ways as this work is about a cycle it is also about the end of one via a threshold reached. Not unlike the future ahead.

Performance Note There are several ways to perform this work with the electronics. The first is to perform the work in its entirety along with the fixed electronics. Timings have been added to the score to aid with this method. A more flexible way to perform this work is with a standalone patch (available at www.bretbohman.com). This patch either requires a foot pedal or a technician to trigger the various sections of the electronics. There are 6 separate tracks triggered throughout the score. Each of these tracks is numbered. Instructions for how to use the patch are included in the download. This will give the performer a bit more freedom in certain moments of the work. = ¼ tone flat = ¾ tone flat = ¼ tone sharp = ¾ tone sharp Accidental only apply to the register in which they appear The electronic part only contains information needed to perform the work in the form of cues, recognizable sonic material eg. basslines, and descriptions of the sound in certain points of the piece. There are no rests in the score for the electronic part and this is in part to reinforce that it is not necessary to be precisely lined up with the electronics at all times. Some leeway is welcome as long as the general areas are maintained. Use your own ear and intuition to find the sweet spot for yourself. Duration lines both solid and dashed indicate the duration of a pitch or sound. Solid line indicates and steady tone. A dashed line indicated a fluttering or “chopper” type effect on the sound described


Instrumentation Bb Clarinet Electronic stereo playback (requires two speakers, laptop or computer, audio interface)

Duration: 7’ 30�


Tides for Bb Clarinet and Electronics

Bret Bohman (2019)

This work was jointly commissioned by the Missouri Music Teachers Association and Music Teachers National Association in 2019 as part of the MTNA Composer Commissioning Program

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October 2019 Columbia MO

Profile for Bret Bohman

Tides (2019) for Bb clarinet and electronics  

More information available at www.bretbohman.com

Tides (2019) for Bb clarinet and electronics  

More information available at www.bretbohman.com

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