Continuing my series on my composition grade pieces, today we will look at the Grade 4 original composition. The brief for this piece is:
“An original composition for any TWO instruments of the candidate’s choice, of approximately 3-4 minutes in duration. The composition should NOT include a vocal part.”
Strategy
After Grade 2 I was feeling a bit more confident that I understoodd the expectations. As with the practical grades, Grade 4 assumes the student is still developing their musical style – the syllabus notes that pieces at this grade “may be entirely comprised of pastiche” – so the material is not expected to be revolutionary but it is expected to be competent handling the basic rules of music theory. This is especially important when writing for instruments you don’t play yourself. I don’t play the double bass but I have played upper bowed strings (violin and viola) so I understand the principles involved in bowed strings; I also don’t play the flute so I’ve done a fair amount of research on what wind instruments can and can’t do. I recommend Josh Plotner’s YouTube series How to Write for Woodwinds as an introduction for this instrument family.
One of the most common errors when writing for unfamiliar instruments is including notes outside the instrument’s range. The upper range of the register is often more flexible depending on the skill of the player or the use of specific techniques, and stringed instruments in particular can theoretically play extremely high notes (though you won’t be very popular if you use a lot of them), but the lowest possible note is generally fixed. Some instruments can be modified to change the range, for example a low B footjoint does exist for flute, but the majority of players will not have these modified instruments so including a B3 in a composition for flute is risky unless you know exactly who will be playing the piece and can check they have a suitable instrument available. 5-string double basses with a low B string also exist, and you’re more likely to find a bassist with one than a flautist with a low B joint, but make sure to specify “for 5-string bass” in the score so it’s clear that this is intentional and that you are aware a double bass has 4 strings by default.
The title ‘Drones’ is meant to conjure up the image of a drone flying overhead. Flute and double bass is not a common choice for a duet but it allows for a very wide range between the two parts, as well as some closer harmonies in the middle section. The huge body of the double bass creates a booming sound, representing the vehicle in flight, with the flute following its finer movements high up in the sky.
Features
Where did the drones come from, and what is their purpose? We don’t know, but given the minor key and heavily chromatic melody line it doesn’t seem to be good.
The key is A minor with a tempo of 128 bpm, definitely quick but not so quick that you don’t have time to savour the individual notes. The structure is ABA1 with a slower middle section, a stylistic feature which pops up frequently in my works.
The main focus here is the contrast between a slow, sustained bass line and a fast-moving, high-pitched treble part. The double bass creates the ‘drone’ with long notes fairly low down in the register and a range of F2-E4 (sorry bass players, I know this isn’t the most exciting part you’ve ever had to play) and the flute plays a chilling and dramatic melody with a range of C4-A6 – I have previously been advised not to use ottavas for flautists as they are well accustomed to reading multiple ledger lines, I apologise if this is not correct. The dynamics for the bass part are also louder than those for the treble part to ensure the bass notes can be heard clearly for the full note length.
The middle section is marked by a thin double bar line, making it clear where the shift in key and mood occurs; again, these visual markers are not compulsory but can make the score easier to navigate. This section moves into D major (the subdominant major of A minor) using the lower registers of the flute and the bass having some more melodic sections.
The final section begins the same as the first, maintaining the same rhythm but changing the notes further along and adding a trill in the bass for a loud ‘wobbly’ feeling created by the very thick strings.
‘Agitato’ is crucial here – the audience should be feeling on edge and a little bit scared. The upper registers of the flute part should be particularly loud, almost fighting with the double bass for control of the piece. The rhythm should be followed very strictly, with no rubato or stylistic pauses.
Performance notes
The bass notes in the first and third sections should be loud, clear and even, with some narrow vibrato. The middle section has more dynamic contrasts and becomes more of a partnership between the two instruments; the bass player should be careful not to ‘shout over’ the flautist, especially in bars 69-82 where the melody moves back and forth between the two instruments. These attempts at co-operation are then firmly abandoned again in bar 91 – the two giù arco
(down bow) crotchets in the bass part should have a slightly unpleasant ‘crunch’ to them.
The legato sections for the flute are intended as one breath; the non-legato notes should be clearly tongued, with a slightly harsh attack in the first and third sections. Go wild with the highest notes, like you’re angry at having to play them.
Listen to the piece below and download a copy of the score here.
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