C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Zamboni, Sara: A Playful Piece for solo clarinet in A and recorded clarinets on stereo tape 



Basic information



  • Program notes: 

    In this composition, the live clarinetist shares rhythmic, melodic and harmonic material with its counterparts recorded on tape (clarinets in Eb, Bb, A). The player is asked to relate to his/her multiple versions on tape in different musical roles: as a follower, a generator of rhythmic patterns till becoming the lyrical leader of the piece. It starts as a three-parts canon of clarinets in A, then it develops through its disintegration and generation of new rhythmic patterns. A Cadenza and its resolution into a classical trio for clarinets in Eb, Bb and A twist the behavior of tape and soloist.

  • Technical specs: 

    Technical Rider:
    On Stage equipment:
    • 2x equal loudspeakers with enough power, frequency response and good angle to deliver the tape audio to the concert hall and also deliver a clear stereo tape image to allow the soloist to perform naturally and orient him/herself in the piece. In principle no amplification is needed, since the piece is conceived to be a natural duet between the soloist and the clarinets on tape. In case the space of the concert requires amplification due to its physical properties, this amplification should be local amplification, very natural and well-controlled to deliver equal amount of sound from the live performer and the tape. The sound source should be clearly the middle of the stage, where the performer stands with the two speakers at his back. In case amplification is needed, the player should have a floor monitor in front.
    • The loudspeakers should be placed on stands, at human height, back from the performer [see Diagram in a separate PDF] but not too far away from him/her. They should give the impression that other clarinet players are on stage and the soloist should feel at ease (the tape material is all based on recordings of clarinets, no effects should be applied).
    • 2x music stands in case the performer does not play by heart.
    • I suggest the performer to play standing up in the middle of the stage, no chair.
    • Normal concert lightning. No scenic effects needed.
    Front Of House equipment:
    • I suggest the FOH engineer work from the hall, located in the center where the audience sits. In this way he/she will have the same perception of the sound of the piece that is meant to be as natural as possible, definitely acoustic and therefore not bigger than clarinets in Eb, Bb and A are capable of playing.
    • 1x MacBook Pro or equivalent with a DAW software or a cueing software to play back the stereo tape (*) organized in two parts, as it appears in the score.
    (*) Tape description:
    • TAPE 1: from the beginning of the piece till bar. 96 (before the Cadenza where the performer is free to take time and give his/her interpretation).
    • TAPE 2: from the upbeat of bar. 122 (rehearsal mark "I") till the end of the piece.
    • 1x audio interface with two independent inputs and outputs.
    • 1x mixing desk programmed to control the two audio channels independently (if needed).
    • Enough cables. The cables on stage should not be in the way. I am in favor of a clean stage. This piece should appear as a chamber music piece, with the only difference that two speakers play the parts of the recorded clarinets.
    Diagram is attached in a separate PDF.



Total number of musicians: 
Musicians1st player2nd player



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