The composer writes:
One of my former colleagues has been kind enough to try the first two quartets, Suite 4 Clarinets and 3 Dances 4 Clarinets. When I asked for suggestions, as to what the next opus should be, she requested some legato pieces to test the players` breath control and tone quality; hence the dedication on page 1.
As to the general title of these legato offerings, as well as the two previous quartets, the use of the text messaging style 4 seemed appropriate with regard to the Grade 5/6 standard of the music which will almost certainly be played by teenagers, many of whose mobile phones possibly receive more attention than their clarinets.
Country Stroll (in 2) is a rustic type of tune to be played in a carefree manner with, of course, the dynamics favouring the melody; hence the abundance of mp markings. Other parts besides the first have things to do, particularly in the middle section where the fourth player has the melody with 2nd and 3rd contributing some neat counterpoint. Phrasing has been conscientiously marked but that notwithstanding the overall interpretation will always be legato.
Caroline`s Tune (in 3) owes its origins to a composition student who, after achieving the grand feat of two bars, seemed to be frozen in her tracks so I promised, over the subsequent holiday, to turn it into a tune, and this is the result. In 3 to the bar this piece demands to be played cantabile, and a sense of rubato will enhance the simplistic melody. Balance is important, especially in the ambitious key change where the tune is moved about a little. This passage oscillates around Db major and for those of you who have some harmonic knowledge the chord progression can be plotted as generally a semitone above the original. The final section, back in the home key, is another variation on the theme, with some mobile support from the other players. Watch out for the echo effect near the end; this will really test your dynamic range.
Lazy Days (in 4) started life as a piece for recorder with piano accompaniment; but it seems quite comfortable in its new setting, requiring a very legato touch from all four players, and accurate intonation to accord with the chromatic chord progression. The repeated Introduction has an important dynamic contrast, the unwritten rule being that one should never play the same phrase exactly the same way twice! The opportunity to improvise should only be grasped if you can guarantee, after some experimentation, to play something better than the written solo.
