Set of performance parts. Composed Southern Music Company SS It is not difficult to understand why Henri Rabaud's 'Solo de Concours' Contest Solo for the clarinet has been popular ever since its composition in It is so entirely in the idion of the instrument, and as grateful as any piece of music ever written for the clarinet. It was composed for the graduation and solo competition for the Paris Conservatory and was used again for the competition in the years , , , and This name will appear next to your review.
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Review Title:. Rate this product's difficulty level:. Location: optional. After the sequence, material from the overture is referenced and the style of the overture is present throughout this section. The transition section ends on a dramatic half cadence, in example 5, in preparation for the finale. Example 5: Transition Half Cadence BbM: I64 iio7 V7 The finale features the clarinet performing exciting 16th note runs while the piano plays a light 8th note accompaniment at the beginning and sustained chords toward the end.
Example 6 and 7, on the next page, show the two kinds of texture that Andre Messager uses in the Finale section. Andre Messagers use of operatic themes and styles plays a huge part in the overall form of the piece. The use of similar techniques and slight repetition of material connect each section and make this piece unique in its own way. Variations and Sequences One of the distinct characteristics of the Romantic period is song-like melodies and a flowing form.
The themes in Solo De Concours are all flowing and lyrical. Even the accompaniment parts when the piano has the melody are flowing. Variation is used in the Overture and Ballet sections. In the Overture, Messager uses variation on the opening theme. The opening theme and variations are shown in Example 8 on the next page. The opening theme is the first 4 measures. Variation 1, in Measures , uses the same melodic idea as the opening theme and use many of the same chords, but the melodic idea is up a third.
The second variation, in measures , elaborate the opening theme with a triplet figure over the same chord structure in the piano as the opening theme. This theme, shown in example 9, is another 4 bar phrase just like the opening theme of the overture. Just like the first theme, Andre Messager uses variation and writes this theme up a fourth.
In this variation, the piano has the same texture as in the theme, but with different chords. After the clarinet finishes the theme, the piano plays the theme while the clarinet plays an arpeggiated 6-tuplet figure. Andre Messager uses this figure to create a variation in the texture.
Halfway through the variation the clarinet and piano switch roles and the clarinet has the remaining melody while the piano continues playing the 6-tuplet figure. In example 10, on the following pages, the theme and variation are labeled. In the Overture and Ballet sections of Solo De Concours, each theme has had a variation applied to it; either the melody changes to different mode or there is a change in texture.
The following examples will show transitional sequences that are employed to expand the harmonic progression and lead to the next idea. Just like the variations in the overture, the sequences in the transition and finale are used at the intervals of thirds and fourths.
At the beginning of the transition section, shown in example 11, on the next page, the piano plays a 4 bar phrase which goes through a progression from the key of Db to the key of F. The next 4 bars is exactly the same as the previous 4 bars. The progression then goes from the key of F to the key of A, which is the secondary dominant of the third in the key of Bb. This A Major chord leads us to the first variation from the first theme in the overture.
Example 12 shows the sequence and chord progression. The first sequence is replicated at the fourth and is a series of dominate seven chords that lead to ii. Then the second sequence takes this and goes up in thirds until it reaches tonic again.
Example 13 shows these two sequences and their harmonic progression. Using theme and variation, Andre Messagers either writes the melody up an interval of a third and fourth, or varies the texture with the use of triplet and 6-tuplets. The use of these figures gives his music a sense of a flowing feeling. Chromaticism Another characteristic of the Romantic period is the use of chromaticism. Andre Messager uses chromaticism within the harmonic structure.
The use of these chromatic notes enable the use of a wide variety of chords that would not be used earlier in music. These chords add an extra dimension to the music. In many sections, the bass line moves up or down diatonically in seconds. There are a few sections where the bass moves up or down chromatically. In the overture, during the second theme, the bass line steps down chromatically. Example 14 shows this passage.
Another section that uses this technique is in the transition section. Right after the sequence mentioned earlier, the Bass line moves down chromatically while the melody in the clarinet moves up chromatically.
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