Chroma: B-flat Bass Clarinet

Strommen crafts a piece that refuses to stay in one emotional or stylistic lane. The chromatic language and tone-row quality give the writing intellectual weight, while the shifts between jazz vocabulary, circus-like playfulness, and dramatic intensity keep both players and audiences engaged. A concert band that can handle this kind of tonal sophistication and stylistic range will emerge with genuine interpretive flexibility.

Strommen creates a journey through contrasting moods, anchored by chromatic language that keeps the ear slightly off balance in the best way. One moment the band swings with jazz inflection; the next, a playful carnival energy takes over; then something genuinely dark and dramatic emerges. The effect is sophisticated without being austere, entertaining without being trivial.

Concert bands at the upper intermediate level who are ready to handle stylistic variety and chromatic harmonic language. This piece rewards directors who want their students to experience contemporary writing that stretches beyond traditional tonality while remaining musically accessible.

• Pay close attention to the timbral shifts between sections. The contrasts between jazz idioms and dramatic passages depend on specific instrumental balances and articulations, not just tempo changes. Mark these transitions clearly in rehearsal.
• Approach the chromatic melodic material with precision in intonation. The tone-row quality relies on players hearing the subtle pitch relationships; sloppy articulation or wavering pitch will cloud the harmonic intent.
• Let the percussion drive the character changes. The "color" Strommen references is heavily influenced by how drums, mallets, and effects instruments shape each section's identity. Make these parts prominent enough for players to feel the stylistic shifts.
• Balance clarity with forward momentum in the faster sections. The playful circus atmosphere can tip into chaos without clean ensemble work and a steady underlying pulse from the rhythm section.

This works brilliantly as a concert opener that signals "this year we're exploring new sounds." Pair it with other contemporary works to build a programming statement, or use it as a contest piece where its stylistic breadth and 3:10 length fit standard time slots. It also serves as an excellent vehicle for recognizing strong soloists within the ensemble, as Strommen writes exposed passages that showcase individual players.

• Reading and performing chromatic melody and harmony
• Distinguishing and executing contrasting musical styles (jazz, playful, dramatic) within one piece
• Balancing ensemble blend across timbral shifts and instrumental solos
• Intonation precision in non-diatonic harmonic contexts
• Stylistic interpretation and character work in contemporary music