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If you've already read the program notes immediately below, or want to skip them for now, you can click here to go immediately to:

• the computer-played MP3 and MIDI files, or
• the live-performance MP3 files

Complete Table of Contents (TOC) of these Program Notes

• The Basics
  • Introduction
  • Instrumentation
  • Duration
  • First performance
  • Computer performers (when human ones are absent)
  
  
• Structure outline
  
  
• Structure commentary
  
  
• Computer-played MP3 and MIDI files
  
• Live-performance MP3 files
  
• Score package
  

The Basics

Introduction

My simple aim in writing this short recorder suite, in 3 movements, was to write something non-Baroque for recorders -- rich though the Baroque (and earlier Renaiisance) tradition of recorder music certainly is. The piece was written for Fred Cory and Julian Nelson, who gave it its first live performance at a concert at our house at "SwallowHill" Cobourg ON on Apr, 2, 2005.

Instrumentation

Duration

First performance

Computer performers (when human ones are absent)

Like all the MIDI files here, it is in General MIDI form. The General MIDI patches (on the 0-127 numbering system) are:

	Part	General MIDI patch
		name	#
	Soprano Recorder	Recorder	74
	Alto Recorder	Recorder	74

How they sound will depend on your own playback software.

On my own synth I used the following patch:

	Part	Sound Module	Patch
			name	#
	Sopranino Recorder	Roland XV5080	Recorder (Bank 8)	74
	Alto Recorder	Roland XV5080	Recorder (Bank 8)	74

This is what you hear on the computer-played mp3 files.

Structure outline

Structure commentary

1 - Skipalong

This simple A-B-A first movement opens in D Minor or is it F Major? -- it's a little ambiguous. The closing figure (first introduced in measures 2 and 3 and concluding in measure 53) certainly appears to be F Major. This Ab-G-F figure in a sense constantly foreshadows the final ending. In an F Major context it has the blues-flattened third (Ab) followed by the G#-G discord, leading to a resolution on F. But, on the other hand, Theme 1 clearly opens in D Minor (emphasized by the A-C# dominant from time to time as well as the presence of the G# leading note). And to my ear the D Minor feel pervades the movement -- with the switch to the F Major ending being almost like a Tierce de Picardie twist at the end.

At any rate, there is a brief introduction and then Theme 1 is played twice. After that, the movement switches to G Minor (the subdominant) and Theme 2 is played twice (the first half (Theme 2a) being the same but the second half (Theme 2b and 2c) endings being slightly different. Theme 2c leads to a bridge that modulates back to D Minor and then Theme 1 returns (with a slightly extended ending). All fairly straightforward and simple.

2 - Dreamaway

This slower A-B-A-B-A second movement is in C Major throughout, though in fact Theme 1a is rather atonal. In a sense Theme 1a opens in C Major and closes on the dominant (G) but, in between, it is meant to have a dreamy sort of atonal, meditative sound. The dream-like mood is then dispelled by the jaunty, slightly syncopated, and clearly C-Major Theme 2. But the movement ends finally with the slow atonal feel (though resolving ultimately on C Major).

To open, Theme 1a is played twice -- the second time, with an eighth-note embellishment alternately in the alto and soprano. Theme 2 then enters with its 50% faster speed and jaunty syncopation. Theme 1b follows the initial Theme 1a shape but with the soprano adopting the rhythmic style of Theme 2. In Theme 1c the embellishment started in Theme 1b is increased to rapid sixteenth notes in the soprano. Theme 1d then has an augmented (slowed-down) version in the soprano. Theme 2 then returns. After that, Theme 1a begins in the alto but soon is combined with Theme 2 played in the soprano. At the end of this combination exercise, we slow down and return to the original Theme 1a -- resolving in the final measure on C Major.

3 - Ah Fugue It!

Ah, what the heck! - we can never entirely leave the Baroque heritage, so it seemed fitting to conclude this Little Suite with a simple fugue. The key of D Minor and the first two notes perhaps pay some brief homage to Bach's Die Kunst der Fuge (where of course the initial D-A notes would have been followed by F-D-C#-D-E-F). But now the EB-E end of measure 1 (or maybe it should be D#-E) reminds us that we are no longer in the eighteenth or earlier centuries. This is not serious extended fugal form but rather simple - though, I hope, fun.

After Theme 1a1, in which the soprano leads and the alto follows, we switch, in Theme 1a2, to the alto leading and the soprano following. For this to work for the listener's ear, the alto has to play quite loudly and the soprano quite softly to sound like a sort of light descant. We return to the soprano-leading form with Theme 1b - a sort of rhythmically jazzed-up version of Theme 1a. At measure 25 we come to augmentation, with the soprano playing the original Theme 1a at half speed while the alto continues with Theme 1b at normal speed underneath. Now it's time for a change. We switch into the dominant (A Major) and skip along with Theme 2a1. Theme 2a2 is simply a repetition except for the ending. Now back into D Minor with a new theme (Theme 3a1). Theme 3a2 is simply a repetition of it. Back to Theme 2a2 again in A Major. And then, finally back to D Minor to stay - with Theme 1a3 and an extended ending (and, yes, with a Tierce de Picardie at the very end).

Computer-played MP3 and MIDI files
(Click on icons below to play MIDI and/or download MP3 files)

Year	Title ... Instrumentation ...... Excerpts	Min: Sec	Complete MP3 files (better sound)** file size	MP3 file extracts (better sound)** file size	Complete MIDI file (not as good sound but quick)**
	The complete piece (computer-played):
2005	Little Recorder Suite ... a duet for soprano and alto recorders in 3 movements	7:37
	How the MIDI files below sound depends, of course, on your playback mechanism. On my computer, MIDI files are played by the QuickTime PlugIn and the recorders sound a bit loud and 'beepy'. In comparison, the mp3 file (recorded from my sound-module patch) sounds somewhat gentler and breathier. Of course, if you have a synthesizer, you can download the MIDI file and set the instrument to your own preferred patch -- but that's more work than downloading the 3 complete mp3 files (for the 3 movements).
-- 1. Skipalong	2:09	1.2 MB
	There is a brief introduction and then Theme 1 is played twice. After that, the movement switches to G Minor (the subdominant) and Theme 2 is played twice (the first half (Theme 2a) being the same but the second half (Theme 2b and 2c) endings being slightly different. Theme 2c leads to a bridge that modulates back to D Minor and then Theme 1 returns (with a slightly extended ending). All fairly straightforward and simple.
-- 2. Dreamaway	2:51	1.6 MB
	To open, Theme 1a is played twice -- the second time, with an eighth-note embellishment alternately in the alto and soprano. Theme 2 then enters with its 50% faster speed and jaunty syncopation. Theme 1b follows the initial Theme 1a shape but with the soprano adopting the rhythmic style of Theme 2. In Theme 1c the embellishment started in Theme 1b is increased to rapid sixteenth notes in the soprano. Theme 1d then has an augmented (slowed-down) version in the soprano. Theme 2 then returns. After that, Theme 1a begins in the alto but soon is combined with Theme 2 played in the soprano. At the end of this combination exercise, we slow down and return to the original Theme 1a -- resolving in the final measure on C Major.
-- 3. Ah Fugue It!	2:37	1.5 MB
	After Theme 1a1, in which the soprano leads and the alto follows, we switch, in Theme 1a2, to the alto leading and the soprano following. For this to work for the listener's ear, the alto has to play quite loudly and the soprano quite softly to sound like a sort of light descant. We return to the soprano-leading form with Theme 1b -- a sort of rhythmically jazzed-up version of Theme 1a. At measure 25 we come to augmentation, with the soprano playing the original Theme 1a at half speed while the alto continues with Theme 1b at normal speed underneath. Now it's time for a change. We switch into the dominant (A Major) and skip along with Theme 2a1. Theme 2a2 is simply a repetition except for the ending. Now back into D Minor with a new theme (Theme 3a1). Theme 3a2 is simply a repetition of it. Back to Theme 2a2 again in A Major. And then, finally back to D Minor to stay -- with Theme 1a3 and an extended ending (and, yes, with a Tierce de Picardie at the very end)..
	Short excerpts (computer-played):
	...... 1 - Skipalong (opening)	0:38		0.4 MB
	This is the intro and the jaunty Theme 1. The recorders sound somewhat better than on the MIDI file.
	...... 1 - Skipalong (Theme 2a)	0:15		0.1 MB
	This is Theme 2a (now in G Minor). Again, the recorders sound somewhat better than on the MIDI file.
	...... 1 - Skipalong (closing)	0:18		0.2 MB
	This is the ending (the last part of Theme 1, slightly extended). Again, the recorders sound somewhat better than on the MIDI file.
	...... 2 - Dreamaway (opening)	0:19		0.2 MB
	This is the slow opening Theme 1 with a sort of atonal feel. Again, the recorders sound somewhat better than on the MIDI file.
	...... 2 - Dreamaway (Theme 2)	0:19		0.2 MB
	This is the contrasting Theme 2. Again, the recorders sound somewhat better than on the MIDI file.
	...... 2 - Dreamaway (Theme 1c)	0:13		0.1 MB
	This is Theme 1c, the 16th-note embellishment of Theme 1. Again, the recorders sound somewhat better than on the MIDI file.
	...... 3- Ah Fugue It! (opening)	0:17		0.2 MB
	This is opening Theme 1 of the fugue. Again, the recorders sound somewhat better than on the MIDI file.
	...... 3- Ah Fugue It! (Theme 2a1)	0:09		0.1 MB
	This is the contrasting Theme 2a1 in A Major. Again, the recorders sound somewhat better than on the MIDI file.
	...... 3- Ah Fugue It! (Theme 3a1)	0:08		0.1 MB
	This is the Theme 3a1 back in D Minor. Again, the recorders sound somewhat better than on the MIDI file.

** If you have a high-speed connection, forget about the MIDI files and just use the MP3 files (better). If you have a dial-up connection, consider the faster (but not as good) MIDI file only if the MP3 files seem to be taking too long to play or download.

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Live-performance MP3 files
(Click on icons below to play and/or download MP3 files)

***Note that these live performance mp3 files will sound quite different from the computer-played mp3 files above because the computer-played files are for soprano and alto recorders while the live performance files are for sopranino and alto recorders -- and so the upper part sounds an octave higher than in the computer-played version. I confess I'm somewhat partial to the original soprano sound but the sopranino worked well in the concert and makes more of a contrast to the alto.

Year	Title ... Instrumentation ...... Excerpts	Min: Sec	Complete MP3 files (better sound) file size	MP3 file extracts (better sound) file size
	The complete piece (live performance Apr 2/05):
2005	Little Recorder Suite ... a duet for sopranino*** (see above note) and alto recorders in 3 movements	6:53
-- 1. Skipalong	1:50	1.1 MB
	There is a brief introduction and then Theme 1 is played twice. After that, the movement switches to G Minor (the subdominant) and Theme 2 is played twice (the first half (Theme 2a) being the same but the second half (Theme 2b and 2c) endings being slightly different. Theme 2c leads to a bridge that modulates back to D Minor and then Theme 1 returns (with a slightly extended ending). All fairly straightforward and simple.
-- 2. Dreamaway	2:45	1.6 MB
	To open, Theme 1a is played twice -- the second time, with an eighth-note embellishment alternately in the alto and sopranino. Theme 2 then enters with its 50% faster speed and jaunty syncopation. Theme 1b follows the initial Theme 1a shape but with the sopranino adopting the rhythmic style of Theme 2. In Theme 1c the embellishment started in Theme 1b is increased to rapid sixteenth notes in the sopranino. Theme 1d then has an augmented (slowed-down) version in the sopranino. Theme 2 then returns. After that, Theme 1a begins in the alto but soon is combined with Theme 2 played in the sopranino. At the end of this combination exercise, we slow down and return to the original Theme 1a -- resolving in the final measure on C Major.
-- 3. Ah Fugue It!	2:18	1.3 MB
	After Theme 1a1, in which the sopranino leads and the alto follows, we switch, in Theme 1a2, to the alto leading and the sopranino following. For this to work for the listener's ear, the alto has to play quite loudly and the sopranino quite softly to sound like a sort of light descant. We return to the sopranino-leading form with Theme 1b -- a sort of rhythmically jazzed-up version of Theme 1a. At measure 25 we come to augmentation, with the sopranino playing the original Theme 1a at half speed while the alto continues with Theme 1b at normal speed underneath. Now it's time for a change. We switch into the dominant (A Major) and skip along with Theme 2a1. Theme 2a2 is simply a repetition except for the ending. Now back into D Minor with a new theme (Theme 3a1). Theme 3a2 is simply a repetition of it. Back to Theme 2a2 again in A Major. And then, finally back to D Minor to stay -- with Theme 1a3 and an extended ending (and, yes, with a Tierce de Picardie at the very end)..
	Short excerpts (live performance):
	...... 1 - Skipalong (opening)	0:32		0.3 MB
	This is the intro and the jaunty Theme 1.
	...... 1 - Skipalong (Theme 2a)	0:13		0.1 MB
	This is Theme 2a (now in G Minor).
	...... 1 - Skipalong (closing)	0:16		0.2 MB
	This is the ending (the last part of Theme 1, slightly extended).
	...... 2 - Dreamaway (opening)	0:21		0.2 MB
	This is the slow opening Theme 1 with a sort of atonal feel.
	...... 2 - Dreamaway (Theme 2)	0:15		0.2 MB
	This is the contrasting Theme 2.
	...... 2 - Dreamaway (Theme 1c)	0:13		0.1 MB
	This is Theme 1c, the 16th-note embellishment of Theme 1.
	...... 3- Ah Fugue It! (opening)	0:15		0.2 MB
	This is opening Theme 1 of the fugue.
	...... 3- Ah Fugue It! (Theme 2a1)	0:07		0.1 MB
	This is the contrasting Theme 2a1 in A Major.
	...... 3- Ah Fugue It! (Theme 3a1)	0:08		0.1 MB
	This is the Theme 3a1 back in D Minor.

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Score Package
(Click on icons below to download pdf and rtf files)

Note that the score is written for soprano and alto recorders -- which is consistent with the computer-played mp3 files above, although, as already noted, the live performance mp3 files above were played by sopranino and alto recorders.

Year	Title ... Instrumentation	Description	No. of score pages	Score (pdf file) file size	No. of text pages	Text (rtf file) file size
2005	Little Recorder Suite ... a duet for soprano and alto recorders in 3 movements	text			5	80 KB
	-- 1. Skipalong ... 1st duet	Complete score *	7	0.1 MB
	-- 2. Dreamaway ... 2nd duet	Complete score *	7	0.1 MB
	-- 3. Ah Fugue It! ... 3rd duet	Complete score *	9	0.2 MB
	* email me if you would like any part extractions

(you will need the free Stuffit Expander for decompressing the rtf.sitx files)
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http://www.rodmer.com/RodMusic/ProgramNotes/LRSNotes.html -- Revised Sep 27, 2005
Copyright © 2005 Rod Anderson
rod@rodmer.com

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