Ron's Talking's Compositions

[Rons_talking]

I've completed a breezy Serenade for Clarinet, Harp and String Octet. Much of my clarinet music is harsh so I made this a tonal chamber piece. I'm trying to post some of the score and am having problems...here goes...

https://soundcloud.com/ronald-roumanis/sets/summer-serenade-opus-102-for

[Rons_talking]

Also, on the opposite end of the spectrum...Here are some Woodwind-Piano works.

https://soundcloud.com/ronald-roumanis/sets/piano-quintet-op-94

Sometimes the Soundcloud recording delays playing the music...if you push the cursor near the beginning of the sawtooth "soundwaves" the music will start immediately.

[Karl Henning]

I've completed a breezy Serenade for Clarinet, Harp and String Octet. Much of my clarinet music is harsh so I made this a tonal chamber piece. I'm trying to post some of the score and am having problems...here goes...

https://soundcloud.com/ronald-roumanis/sets/summer-serenade-opus-102-for

What clarinet-plus music have you got?  Asking for a friend . . .

[Rons_talking]

What clarinet-plus music have you got?  Asking for a friend . . .

Well...above is some small group music with clarinet (I have loads of that). Here are some Piano-Clarinet pieces (I know it's not a real clarinetist ).

https://soundcloud.com/ronald-roumanis/sets/clarinet-music

[Karl Henning]

Say, do you have any choir unaccompanied works?

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[Rons_talking]

Say, do you have any choir unaccompanied works?

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Yes I do, though I'll have to do some digging. What size/ level is the choir? Text preferences?

[Karl Henning]

Yes I do, though I'll have to do some digging. What size/ level is the choir? Text preferences?

I think you should send Triad a score or two for us to consider for our upcoming season.  Count on four singers per section, the singers are professional, so divisi is no problem, and if you have a passage for the occasional soloist that is easy to accommodate, too.  Unaccompanied, or piano accompaniment, is easiest to fold in.  Though if you have something for choir and clarinet, we can do that readily, too. I wouldn't absolutely say that non-sacred text is a preference;  only I know of some sacred works which are already on the slate for next season, so at present, non-sacred text may be preferred for balance.

http://www.youtube.com/v/Ij0wRjmg0LY

[Rons_talking]

I think you should send Triad a score or two for us to consider for our upcoming season.  Count on four singers per section, the singers are professional, so divisi is no problem, and if you have a passage for the occasional soloist that is easy to accommodate, too.  Unaccompanied, or piano accompaniment, is easiest to fold in.  Though if you have something for choir and clarinet, we can do that readily, too. I wouldn't absolutely say that non-sacred text is a preference;  only I know of some sacred works which are already on the slate for next season, so at present, non-sacred text may be preferred for balance.

http://www.youtube.com/v/Ij0wRjmg0LY

They're very good. I'll have something ready in the next week. 

[Rons_talking]

In the mood for Paris, 1920s? I composed this suite with that in mind. 

https://soundcloud.com/ronald-roumanis/sets/from-parisienne-suite

If the track doesn't start, click to the 0:03 area...for some reason soundcloud stalls on me occasionally. Enjoy!

[Robert101]

In the mood for Paris, 1920s? I composed this suite with that in mind. 

https://soundcloud.com/ronald-roumanis/sets/from-parisienne-suite

If the track doesn't start, click to the 0:03 area...for some reason soundcloud stalls on me occasionally. Enjoy!

I really like both wind/piano works, esp. the first. Cheerful yet bittersweet.

[Rons_talking]

I really like both wind/piano works, esp. the first. Cheerful yet bittersweet.

Thanks Robert! I like to compose in that vein from time to time. I've listened to so many between the wars works over the years.

[Rons_talking]

My Three Places in New Mexico" is now on soundcloud. It's for wind quartet,  perc., piano. Why should all of the " Three Pieces" works be on the East? "Alamogordo" is inspired by its old atomic bomb testing site. I'm composing for a friend who directs a new music group.





https://soundcloud.com/ronald-roumanis/sets/three-places-in-new-mexico

[Rons_talking]

Last month, I composed this work for chamber orchestra "Earth Tones"  (Sinfonia 14). It's in three movements and is comprised of wind quartet, Time, Glock, Vibraphone and Piano as well as 2-2-2-1-1 Strings (or double).  The 1st m. is called "Leaves", the second "Awakening" and the 3rd mov. is "Birds".   It was inspired by my moving from Campbell Island, north of Vancouver Island where my wife and I worked on an aboriginal reserve, to the city of Edmonton...a culture shock, but not in a bad way...Now I can work with live musicians! Here are 3 pages of the score (1st mov. ca. 2:45).

https://soundcloud.com/ronald-roumanis/sets/sinfonia-14-opus-97

[Karl Henning]

Oh, I'll have a look at this early tomorrow!

[Karl Henning]

Of course, I'm jumping in at the middle with p.20, so I may be missing important cues.  Some initial thoughts:

   
• At E it looks like the oboe and clarinet jar at an augmented (cl) or diminished (ob) octave, with the bassoon and flute respectively.
• I don't know what the previous dynamic marking was . . . is the third eighth-note at E really where the timpani should be marked piano?
• At the end of m.85, that quarter-note in the flute and oboe (oh, and piano) cannot be both tied over the bar, and staccato, right?
• m.85 cello, should the first two notes also be A-flat?
• m.86 fl/ob/pf, fourth quaver, E-flat?
• mm.85 & 86 look like the subdivision is 2+2+3 (?) To help the winds feel that, I'd be inclined to beam their figures to reflect that grouping.
• m.86, cello seems to be one quaver short?

[Rons_talking]

Of course, I'm jumping in at the middle with p.20, so I may be missing important cues.  Some initial thoughts:

   
• At E it looks like the oboe and clarinet jar at an augmented (cl) or diminished (ob) octave, with the bassoon and flute respectively.
• I don't know what the previous dynamic marking was . . . is the third eighth-note at E really where the timpani should be marked piano?
• At the end of m.85, that quarter-note in the flute and oboe (oh, and piano) cannot be both tied over the bar, and staccato, right?
• m.85 cello, should the first two notes also be A-flat?
• m.86 fl/ob/pf, fourth quaver, E-flat?

Thanks for your time, Karl.  I'm sorry you spent time examining the score...I really included it as an afterthought, having just discovered how to make PDF files on finale. It goes without saying that the score is not performance ready. I'd never show it in this draft-like form given a performance situation. I appreciate the scrutiny, but I'm more interested in the broader musical context.  I'm still working on getting finale to behave. If solicited for a large work I will print out the score, ink it up and edit for performance, but that's not an immediate goal of mine. I'm just enjoying the fact that in short time, I can compose and hear a decent rendering of a larger-forces work. I have more of an eye for performance with my solo and chamber works. Thanks again.
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[Karl Henning]

No apology needed!  Be at liberty, Ron.

[Karl Henning]

And, forgive me my brevity!  I should like a look at the whole from the start (sounds like you're sorting out PDF logistics).

[Rons_talking]

And, forgive me my brevity!  I should like a look at the whole from the start (sounds like you're sorting out PDF logistics).

Karl, I'm in the process of moving and will have no access to my work for much of the next month. Yes I'm learning my way around PDF world as well as the new finale. I'll get to the score when possible. I appreciate your insight and interest.

[Karl Henning]

Good luck and safe moving!