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Vous avez sélectionné:
Fracture
Quatuor à cordes: 2 violons, alto, violoncelle
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String Quartet - William and Mary
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Mike Strand, ASCAP <
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Mike Strand
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String Quartet - William and M
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Michael M. Strand
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SheetMusicPlus
String Quartet String Quartet - Level 5 - SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand ...
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String Quartet String Quartet - Level 5 - SKU: A0.970731 Composed by Mike Strand. Contemporary,Jazz,World. Score and parts. 36 pages. Michael M. Strand #4837117. Published by Michael M. Strand (A0.970731). By Mike Strand, ASCAP I wrote this String Quartet in a composition class at the College of William and Mary in 2010. It is brief and rich with variety, and it involves a technique of mine called fracturing (see note* below). This causes the dissonance you'll hear in parts of this work.On one occasion, when I felt stressed, I enjoyed listening to Morton Feldman's String Quartet II (1983), which lasts about 6 hours. This quiet but lovely music soothed and pacified me. On the other hand, if you want something to energize and alert you in less than 11 minutes, this quartet may be for you -- whenever you acquire a recording of it by some lucky quartet ensemble. Have a cup of coffee with it, for insurance!In the meantime, enjoy the audio sample, Movement I of my quartet. This alone may suffice to get you going, in only two and a half minutes. String Quartet - William and Mary: Four movements, total time 10:45: I. Allegro moderato (2:32) A tango-like dance movement: Preface, Introduction, A, B, A’, C, Coda (two variations). II. Lento (2:44) Counting to twenty in 5-4, 4-4, and 12-8 time. 5-4 time predominates (five groups of four measures each), then 4-4 (two groups of five measures each) and 12-8 (one group of five measures). Throughout there are 72 counts per minute, with quarter notes counted in the 5-4 and 4-4 time signatures, and with dotted quarter notes counted in the 12-8 time signature. The five measures of 12-8 also introduce the theme for movement III.Fun with three different time signatures! III. Allegro (2:11) Variations on a Scottish-like folk tune and fragments of it. One variation is an example of tonal pointillism. The closing measures are an extended coda based on a transformed version of the original tune. IV. Swing (3:18) West Coast swing tempo for the Introduction and Part A; triple swing tempo for Part B. Note* on the fracturing technique This is my method to produce systematically new types of dissonance and corresponding modifications and resolutions. Fracturing consists of changing pitches in a melody or chord as follows: (a) Decide on the root note position within the staff or line of music. (b) Represent the applicable chord in half-step notation, with the root given the value 0. (c) Alternatively subtract and add a prescribed number of half steps from, and to, each successive number in the annotated chord (except for the root). (d) Use the new fractured annotation to define the new pitches. The actual or implied root of the chord (tonal center) remains unchanged. The resulting new chord or melody is thus related or resolvable to the parent tonal harmony or chord. Fracturing appears mainly in the first and third movements, with spare use in the second and fourth movements.
$7.00
String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Chaya Czernowin
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String Quartet
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Schott Music - Digital
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SheetMusicPlus
String quartet - difficult - SKU: S9.Q6234 Composed by Chaya Czernowin. This edition: score and parts. Downloadable, Score and parts. Duration 14 minute...
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String quartet - difficult - SKU: S9.Q6234 Composed by Chaya Czernowin. This edition: score and parts. Downloadable, Score and parts. Duration 14 minutes. Schott Music - Digital #Q6234. Published by Schott Music - Digital (S9.Q6234). In this work, the quartet becomes a single composite instrument. This instrument cannot play individual sounds but rather composite gestures, of which the initial impulse linked to the production of a sound is an integral element. In a journey to Thailand, I visited Wat Arun, “the Temple of Dawn.†First from a distance, it appeared as a majestic looming tower possessing a monolithic form. It was then of extreme surprise to proceed closer only to discover that the tower was actually comprised from thousands of small shards of ceramic plates. From the closer perspectival proximity, these small shards created intricate filigreed patterns. The play between the presence of the temple’s totality and its fractured parts helped to provide both the material and formal conceptions for this quartet. The piece is built from three movements with two “sonic windows†between them. In the first movement, the composite sounds are introduced and form phrases interjections, and a part of a song; the second movement is similar to an improvisation using these composite sounds; the last movement is a speech composed of the fragments from the first two movements. The piece is dedicated to the Arditti String Quartet. – Chaya Czernowin & Steven Kazuo Takasugi.
$54.99
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