DIVERGENT

QUARTET
style guide

Here you will find a list of compositional guidelines to keep in mind when writing for
Divergent Studio. If you wish to write for your assigned ensemble in a way that does
not adhere to these guidelines, we ask that you contact the members before doing
so. For general inquiries, please contact Andy Kozar at andy.kozar@longy.edu. For
specific instrumental inquiries, please contact the specific players.
 GENERAL GUIDELINES

GENERAL GUIDELINES:
Pieces must be written for the complete instrumentation: clarinet, alto saxophone, bassoon, and

guitar.
If you would like to write for an auxiliary instrument, please reach out to the individual performer

to be sure it is possible.
When score and parts are delivered, the ensemble should receive a copy of a C score, a

transposed score, and parts for the individual instrumentalists. PDFs can be uploaded here.

SCORE AND PARTS GUIDELINES:

Parts should be prepared for the four instruments, if applicable.
Parts and the score should be portrait layout on 8.5" x 11" letter paper.
No key signatures should appear in parts, unless the piece has a key.
Transposed parts should be checked for proper enharmonic spellings of accidentals (e.g. avoid
B#, Fb, unless voice leading is clearer this way).
All tuplets should be bracketed,
Digital files should be named as follows:
SCORES:
composer last name_title_C_Score
composer last name_title_transposed_score

PARTS:
composer last name_title_instrument

AVAILABLE TECH:
If you plan to use electronics, please contact Andy Kozar (Director, Divergent Studio) at

andy.kozar@longy.edu and Aaron Clarke (Assistant Director, Divergent Studio) at

aclarke@longy.edu to discuss the possibilities.

 GENERAL GUIDELINES

WIND GUIDELINES:
Preferred score order is clarinet, bassoon, saxophone, guitar.
Make sure for all wind players there are plenty of places to breathe! As wind players, rests are

our friends! Tongued articulations are one way to create a rest for wind players.
Air sounds: from pure air to pure sound all degrees are possible. Although in fast passages the

change will be inaudible if the percentages are too close. Air percentages work better at softer

dynamics, loud passages in percentages like 50/50 suffer alteration because of the act of

playing louder (requiring more air), and will be either non-airy, or much quieter (unless what is

meant is the effort dynamic).

Multiphonics: There are many sources on the subject, but because they vary according to

instrument/reed/mouthpiece/player, it is wise to consult with the performer.

Resources: Spectral Immersions by Sarah Watts - Metropolis Music Publishers
Others: Internet… www.heatherroche.net is one of my favorites
Communication between composer and performer is the best resource!
Please be aware of the transposition from source: Make sure that when working with

multiphonics to know if the source is transposed or not, and if you’re writing concert or

sounding pitch. For example, many times I’ve noticed that when receiving a transposed part

the multiphonics are not correct, and are off by a M2. This is usually because the composer

was composing the score in C, and using a transposed (Bb) chart of multiphonics, and when

exporting the part, the fingering will be wrong, or impossible.

Singing/Playing: remember breath, if you can’t sing it in one breath, I probably can’t play AND

sing at the same time in one breath

 RANE MOORE - CLARINET

Rane can be reached directly at:

rane.moore@longy.edu

Instrument: Preferred Instruments: Bb

Clarinet and/or Bass clarinet. A

Clarinet and Eb Clarinet are available,

but please contact clarinetist Rane

Moore before writing for these

instruments. Please make sure

instrument switches are do-able.

Bass Clarinet: French Notation vs. German Notation. Only use French notation. In French

notation everything is notated in the treble clef and sounds an octave + major second

lower than notated.

Slap Tongue: Use with moderation, and be aware of speed, quarter note = 80 16th notes

is probably the very top speed for a clear and articulated slap, but not for an extended

period. Possible in every register, but after entering the 3rd register it will sound an octave

lower.
Air sounds: from pure air to pure sound all degrees are possible. Although in fast

passages the change will be inaudible if the percentages are too close. Air percentages

work better at softer dynamics, loud passages in percentages like 50/50 suffer alteration

because of the act of playing louder (requiring more air), and will be either non-airy, or

much quieter (unless what is meant is the effort dynamic). Unlike flute, pure air sounds on

clarinet have no pitch. Higher and lower air sounds are made with vowels in the mouth.
Microtones: possible in almost every register, the lowest 5th of the range and the 12th

above are less malleable than the rest of the instrument. Please note that some

fingerings are very awkward, and that might affect the speed and quality of playing.

Microtones are more easily achievable and accurate on Bb clarinet. Asking and sending

me some sketches is always a safe way to deal with uncertainties!

Multiphonics: Bass Clarinet:The Bass Clarinet by Harry Spaarnay - Periferia Editions
Key Clicks: From experience I've found these are nearly always dynamically

disappointing to composers unless it's solo or scored very sparsely.

RACHAEL ELLIOTT - BASSOON

Rachael can be reached directly at:

rachael.elliott@longy.edu

Range: Our standard range is from Bb1 to Eb5.

There are three distinct registers with different

timbres/qualities: low register: rich, deep, funky;

middle/tenor: warm, singing; high register:

flexible, reedy, bright double reed allows for an

especially crisp, clear, staccato articulation. E5

(and higher) is challenging and extremely difficult

to initiate from silence. Use with caution! Best approached from below, by half step or whole

step, slurred E5, F5, G5: can be played, but usually requires a special bocal / reed. Not

recommended A1 is possible with the use of a bell extension (give player time to insert this). A1

negates the use of A#/Bb1 and affects intonation elsewhere, particularly the neighboring low

notes
Articulation: Large, articulated leaps work well, whether upward or downward in direction.

Large, slurred leaps upward generally work well.

Effects: The bassoon can create a variety of effects, from timbral trills, cross-register trills

(“Berio tremolo”), multiphonics, microtones, flutter-tonguing, a range of effects with vibrato,

single and double tongued articulations, harmonics, and circular breathing. Jaw or lip vibrato

can be used for special effects, for wider pitch variation, or to create an ‘electronic’ sound.

Flutter-tonguing works on the reed, or also directly on the bocal for a percussive effect.

Microtones are more easily achieved from around G2 and above; the lowest sixth of our range

offers fewer fingering options and modifications, relying mainly on lip adjustments. Glissandi

are easier to realize in the middle and high registers where the bassoon is most flexible.
Clefs: The bassoon is a non-transposing C instrument that primarily reads in bass clef and

tenor clef. Switch to tenor clef around C4 (as early as G3/ A3 is also fine) once your music lies

around C4 and above. Mid-measure clef changes are totally acceptable; we prefer reading

fewer ledger lines. For notes in the highest register, you can remain in tenor clef, or switch to

treble clef around G4 and above. We see treble clef commonly in French music, and I'm happy

to read in treble clef—provided you exercise compassion in what you’re asking of the bassoon

(and bassoonist) in our extreme high register!

The bassoon is a wonderfully expressive and flexible instrument, and I hope you will enjoy

exploring its possibilities. I’m happy to meet over Zoom to answer any questions, or give a

demo of any of these techniques, or to read through your material as you develop your piece. I

welcome the opportunity to collaborate with you!

 SEYCHELLE DUNN-CORBIN - SAXOPHONE

Seychelle can be reached directly at:

seychelle.dunncorbin@longy.edu

Instrument: Feel free to write for soprano, alto, or

baritone saxophone.
Instrument change: Please allow at least 8 seconds of

rest (ideally more) if an instrument change is necessary.

Slap Tongue: Contact me if slap tongue is desired.
Microtones: possible in every register from D1/4b below

the staff and up. Please note that some fingerings are

very awkward, and that might affect the speed and

quality of playing. Asking and sending me some

sketches is always a safe way to deal with uncertainties!

Multiphonics: the best resource on multiphonics (and
every other extended technique) is “The Techniques of Saxophone Playing” by Weiss and Netti.

Sound examples are available at this link:

https://www.baerenreiter.com/materialien/weiss_netti/saxophon/mehrklang-auswahl.htm
Other sounds/effects/preparations: If you have any

questions just let me know.
ERIC HOFBAUER - GUITAR

Eric can be reached directly at:

eric.hofbauer@longy.edu

Please contact Eric Hofbauer for more

information.