w18980
| Title | Tillywhally Time |
| Contributors |
Gareth Clemson aka CHEZZ (composer) |
| Composition date | 2003 2003 |
| Duration (mins) | 0 |
| Category | chamber quintet |
| Instrumentation | 3 Vn Vc Pf |
| Commissioned by | |
| Key signature | C |
| First line | |
| First performed | |
| Notes | |
| Programme Note | Tillywhally Time comprises seven short pieces scored for violin 1, violin 2, violin 3 (in place of viola), cello and piano, which doubles and supports the string parts. 1. Spaced Out A very simple melody, moderate time, generous use of open strings. 2. After You Allegretto, faster crotchets and quavers, practice in moving from arco to pizzicato and back again, with dynamic contrasts. Musically, the parts imitate each other, hence the title. 3. Top to Bottom Fairly fast, contrasts of register, repeated notes, dotted rhythm, strongly rhythmical. 4. Digging In A repeated ostinato shared between upper and lower strings, independent melody in the piano part. Good practice in maintaining steady time and holding each part in counterpoint with the melody. 5. Stick Chopping This is a take off of the original Chopsticks, utilising repeated notes and repeats, fast tempo. 6. Harmonious Scottie A simple melody, mainly pentatonic, Scottish style, rather slow, played in unison by the strings throughout, simple harmony in the piano. A short introduction gives practice in counting rests before coming in, unison playing encourages listening for correct tuning and timing with attention to good tonal and expressive control. 7. Move It Scottish reel time, melody in violin 1, accompaniment (usually offbeat) violin 2, violin 3, cello, doubled by the piano with minimal harmony. Practice in repeats with first and second endings. Though in a Scottish style, it will be quickly noted that the modulations are somewhat freer than the traditional style. There appears to be a dearth of interest in string ensemble compositions suitable for young players trying group music for the first time. Tillywhally Time is an attempt to fill this void. All the pieces are in the first position (with the exception of the occasional bar in the cello part). Particular care has been taken with violin 3, the assumption being that these players are at an elementary level; it is also a tacit acknowledgment that violas will be unavailable at that young age because of their size. Notation follows contemporary practice with no key signatures. This may seem odd at first, considering the music is tonal. One clear advantage of this scheme is the use of accidentals, especially major and minor thirds (fingers close together or wide apart). This should encourage attentive listening as an aid to accurate intonation, which in turn helps in good tonal production. Page turning has been avoided by organising the individual parts on facing pages (2-3/4-5). All seven items may be played as a group in the present order, or varied; the conductor organiser is free to choose and select. |
This work is associated with the following collection items:
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