Music Appreciation: Discussion by Yves Gourhand

I don’t know how it is where you live, but here in the Chicago suburbs the weather has been glorious for February!

Mod architecture by geralt.

Mod architecture by geralt.
CC0 Public Domain

We’ve been able to take walks outside, open the windows a bit, and our moods are certainly lifted. I know this warm spell won’t last, and we’ll probably get a March (or April) snow like usual, but I’m happy to get a bit of spring.

In deciding what piece to talk about next, I realized I have not talked about any clarinet quartets (for shame! And I’m a clarinet player!). While there are a ton of quartets out there, I chose “Discussion” by Yves Gourhand. It seems to be somewhat obscure. All the more reason to talk about it, right? At this point, I don’t actually remember how I came across this piece– whether I heard about it somewhere or I just found it while falling through the black hole of YouTube. Regardless, it captivated me.

Part of the problem with obscurity, though, is that I haven’t had much luck finding info on Gourhand. He has a few published pieces out there, all focused on clarinet (which isn’t necessarily a bad thing in my world!). I’d like to know more about him, and whether he working on any other pieces.

Immediately there’s a quiet intensity to the piece. The first clarinet plays a syncopated rhythm over the bass clarinet, who holds the pitch an octave lower. The rhythmic pitch rises a step, the bass still holding the original pitch, but has a quick change at the end. The intro continues similarly, with the first clarinet continuing to rise in the scale and the other clarinets joining in over time. The bass line also grows more active throughout, and the groups grows louder as they move into the first theme.

At 0:20, we begin Theme A. The first clarinet leads, with the second and third playing pulsing chords and the bass undulating underneath it all. I’m struck with imagery of a cityscape for this theme. It’s very much hustle and bustle, but a beauty within it all. At 0:27, the second and third, then the bass, have a bit of an echo to take us to the next measure. We repeat the first phrase, but listen to how the accompaniment changes at 0:33– the middle clarinets have a short moving line instead of the pulsing chords. The melody changes slightly for the last bit of this second time through.

To bridge the gap to the next theme, the bass clarinet gets a fun run up and down the instrument (0:36). Theme B is full of flying fingers, jazzy sounds, and syncopation. It’s a short theme, but energetic and wild. Of course, as a bass player, I love the great solo lick at 0:55 (It’s fun to play, too!). From there, we return to Theme A in its entirety (0:57), with just a couple of small alterations in the middle clarinets’ accompaniment and a slightly different ending.

We get a new theme at 1:16. The running line moves between the second and third, the bass has a different bass line, and the first has a more of an accompaniment role. The first does take over again around 1:24, then the group plays a syncopated line upward to finish the phrase. There are some octave jumps in the bass to bring us back to Theme A. It’s largely the same, but again he changes some of the middle parts ever so slightly. I, admittedly, did not realize this before when I rehearsed and performed it. However, I was playing the bass part, which doesn’t change during the bulk of Theme A. It’s mainly the ending that changes for that part. This time around, the bass line leads up to a held chord from everyone, signaling something different is going to happen.

We’re into a new theme at 1:54– the “slow” theme (Theme D). As with other pieces I’ve discussed, like “Overture to Candide” and “Festive Overture”, things only feel slow because Gourhand is using quarter and eighth notes, instead of the sixteenth notes and syncopation that we’ve heard until now. The underlying pulse is the same, the note lengths are just different proportions. It’s common, but very effective, composition technique. Theme D begins with the second, third, and bass clarinets in octaves. The next iteration of the theme is in the first part, with the second providing harmonic material (2:12).

At 2:29, the first continues the melody, the third takes over the harmony that the second had been playing, and the second brings in new harmonic material. Finally, Gourhand’s not quite done Theme D yet, and we get one more round of it at 2:46. The third gets to shine on the melody this time, the second goes back to her original harmonic line, and the first takes over what the second was just playing. The bass brings in a new line as foundation for the rest. At the end of the theme, there’s a slight ritard, a chord held for just a moment, and a run back itno Theme A.

We’re treated to a near note-for-note recap of Themes A-B-A. As Gourhand likes to do, he slightly changes the middle parts’ accompaniment rhythms. But largely we have the same as what we heard at the beginning (including that great little bass lick!). However, the last time through the A melody, he writes a call and answer throughout the group, rising up intensely through chromatic chords until the final chord in the soprano clarinets and a run down the bass line.

I hope you’ve enjoyed “Discussion” as much as I have. See you next time, and remember– think spring!
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What’s playing at Tonal Diversions – May 2015

I thought I’d share a few things I’ve been listening to recently while I decide which piece to discuss next here on the blog. Maybe you’ll enjoy some of these albums as well, and I’m happy to spread the word about them!

(Time for the disclaimer: I don’t have any affiliation with these artists or CD Baby. I purchased these albums on my own and just want to chat about them)

Fight the Team by Jon Lampley


I found out about this one via one of my OSU alumni magazines (I think one of the College of the Arts and Sciences issues) and finally got around to buying it. John Lampley is an OSU alum who majored in jazz studies and seems to have kept rather busy since graduation. While this album would be of most interest to my fellow Buckeyes, Lampley’s jazzy arrangements of our beloved songs have appeal for those not of the scarlet and gray persuasion. I especially like his two variations on “Buckeye Battle Cry.” Listen for the quotes of various tunes, notably by the tuba, in “Fight the Team.” My only criticism of the album is that it’s too short. I want to hear more!

Electric Woods by Vienna Clarinet Connection


This one was an impulse buy as I was trying to take advantage of cheap shipping from CD Baby. But man, has it turned out to be a fun album! Kinda jazzy, kinda funky, with a touch of Klezmer thrown in (and a couple visits from aliens?) And where else do you find jazz basset horn?

Sway by Michael Lowenstern


Speaking of Michael Lowenstern, I have his latest album, Sway. Any bass clarinet players out there should immediately subscribe to his YouTube channel – he has some fantastic instructional videos (B-flat players may want to subscribe, too 😉 )

Mr. Lowenstern had put up a preview of the track “Little Bit” when he was taking pre-orders for the album. The tune just made me happy – I knew I needed to order the album! While this is the first album of his I’ve purchased, it certainly won’t be the last. Jazzy and funky, with a detour through India for “Spinning” and Ireland for “Wellington,” this album has quickly become one of my favorites.

Today’s post was a bit different than usual, but I hope you’ll take some time to either explore these artists or search out something new for yourself. You just might find your new favorite artist!