Three Way Split: Clarinet Ensemble: Instrumental Album

SKU: CF.FPS152F

ISBN 9781491152805. UPC: 680160910304.

Incur sion was a collaboration between composer Sean O'Loughlin and the students of the commissioning group. When asked for a dark and scary sounding piece, O'Loughlin delivered in his typical fashion. Aggressive rhythmic figures set the tone of the piece early with a foreboding and dark melody in the lower voices.  The piece develops through a number of contrasting sections, providing plenty of exciting variations for students to enjoy.
Incursion is a dramatic, powerful work for the developing ensemble. The piece begins with an aggressive rhythmic idea that sets the tone for the composition. The lower voices enter with a foreboding and dark melody that carries on this feeling. The upper voices then split into counterpoint with the lower voices at m. 17. The counterpoint splits into three parts at m. 25, which culminates in a return to the opening rhythmic figure at m. 33. A contrasting slow section features some lush and haunting passages. Measure 54 brings the opening rhythmic figure back again, but this time includes a quietly intense approach. A recapitulation of the counterpoint and subsequent development follows. Measure 83 brings back the opening rhythmic idea one more time to conclude with a rousing finish.

SKU: CF.FPS152

ISBN 9781491152126. UPC: 680160909629.

Incur sion was a collaboration between composer Sean O'Loughlin and the students of the commissioning group. When asked for a dark and scary sounding piece, O'Loughlin delivered in his typical fashion. Aggressive rhythmic figures set the tone of the piece early with a foreboding and dark melody in the lower voices.  The piece develops through a number of contrasting sections, providing plenty of exciting variations for students to enjoy.
Incursion is a dramatic, powerful work for the developing ensemble. The piece begins with an aggressive rhythmic idea that sets the tone for the composition. The lower voices enter with a foreboding and dark melody that carries on this feeling. The upper voices then split into counterpoint with the lower voices at m. 17. The counterpoint splits into three parts at m. 25, which culminates in a return to the opening rhythmic figure at m. 33. A contrasting slow section features some lush and haunting passages. Measure 54 brings the opening rhythmic figure back again, but this time includes a quietly intense approach. A recapitulation of the counterpoint and subsequent development follows. Measure 83 brings back the opening rhythmic idea one more time to conclude with a rousing finish.