Soundole's second channel (the first being Soundole VGM Covers). A place for all of my other musical projects, and anything else unrelated to games that I want to upload.
Yooo I just noticed you do the same subtle embouchure change when you want harsher harmonics as I do ^-^ Which is not something I was explicitly taught, rather my teacher was an oboe player and so I first copied hers. Then a bit later I noticed most single-reed players don't curl the top lip like double-reed players do, and that going everywhere through that spectrum yields subtle timbral changes :3 So it's super validating to see you do it here!! (Though perhaps you were explicitly taught it, maybe even more as a tension thing rather than a posture thing? I'd love to know your thoughts if this makes you want to ramble at me!)
I am very happy to ramble about this! It's probably happening here more for pitch than timbral variation; a lot of notes on bass clarinet (even much more than clarinet) need to be 'sunk' to be remotely in tune, and conversely, it helps to think of a tighter syllable to get some of the higher notes in tune when loud. Most teaching methods emphasise that the embouchure for most wind instruments should be still for most playing, but I think that advice is largely just to avoid adding unnecessary extraneous movements which impact the sound. It needs to move a bit for pitch or resonance, for sure!
Sorry, I don't share sheets for still-living composers - that would be a bit unfair to them! You can find this book readily available for purchase online though!
I think it's really profound writing. It's rare to hear this sort of emotional weight in works for the clarinet ensemble, but this one really hits home.
Glad you appreciated it mate! Eleanor is a bass specialist herself, so she knows how to make that instrument really sing (and Justin, the player on that part, is a top gun too!)
