Concerto for Violin and Orchestra by Gyorgy Ligeti Violin. Composed by Thoma...(+)
Concerto for Violin and
Orchestra by Gyorgy
Ligeti
Violin. Composed by
Thomas
Ades (1971-). String
Solo.
Classical. Softcover. 8
pages. Schott Music
#ED21605.
Published by Schott Music
School orchestra (SCHLGZ) SKU: HL.49027506 Nach rumanischen Volksliede...(+)
School orchestra (SCHLGZ)
SKU: HL.49027506
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, drums. 3 pages.
Schott Music #CON177-12.
Published by Schott Music
(HL.49027506).
School orchestra (SBFL) SKU: HL.49027505 Nach rumanischen Volksliedern...(+)
School orchestra (SBFL)
SKU: HL.49027505
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, descant recorder.
20 pages. Schott Music
#CON177-11. Published by
Schott Music
(HL.49027505).
School orchestra (V3) SKU: HL.49027510 Nach rumanischen Volksliedern(+)
School orchestra (V3)
SKU: HL.49027510
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, Violin III. 2
pages. Schott Music
#CON177-16. Published by
Schott Music
(HL.49027510).
School orchestra (KB) SKU: HL.49027512 Nach rumanischen Volksliedern(+)
School orchestra (KB)
SKU: HL.49027512
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, Double bass. 1
pages. Schott Music
#CON177-18. Published by
Schott Music
(HL.49027512).
School orchestra (V1) SKU: HL.49027508 Nach rumanischen Volksliedern(+)
School orchestra (V1)
SKU: HL.49027508
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, Violin I. 2 pages.
Schott Music #CON177-14.
Published by Schott Music
(HL.49027508).
School orchestra (V2) SKU: HL.49027509 Nach rumanischen Volksliedern(+)
School orchestra (V2)
SKU: HL.49027509
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, Violin II. 20
pages. Schott Music
#CON177-15. Published by
Schott Music
(HL.49027509).
School orchestra (KL) SKU: HL.49027507 Nach rumanischen Volksliedern(+)
School orchestra (KL)
SKU: HL.49027507
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, piano. 2 pages.
Schott Music #CON177-13.
Published by Schott Music
(HL.49027507).
School orchestra (VC) SKU: HL.49027511 Nach rumanischen Volksliedern(+)
School orchestra (VC)
SKU: HL.49027511
Nach rumanischen
Volksliedern.
Composed by Gyorgy
Ligeti. Sheet music.
Edition Schott. Separate
part, Violoncello. 2
pages. Schott Music
#CON177-17. Published by
Schott Music
(HL.49027511).
Violin and piano SKU: HL.49046535 Composed by Gyorgy Ligeti. This edition...(+)
Violin and piano
SKU:
HL.49046535
Composed
by Gyorgy Ligeti. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Softcover. Composed 1946.
Duration 4'. Schott Music
#ED22824. Published by
Schott Music
(HL.49046535).
ISBN
9781705122563. UPC:
841886032576.
9.0x12.0x0.094
inches.
Gyorgy
Ligetis Duo fur Violine
und Klavier, das mit
dieser Ausgabe erstmals
publiziert wird, entstand
im Dezember 1946, wahrend
seines Studiums an der
Franz Liszt-Musikakademie
in Budapet. Ligeti
betrieb zu jener Zeit
intensive
Kontrapunktstudien.
Daruber hinaus ist das
Werk der auf Bartok und
Kodaly zuruckgehenden
Idee einer kunstvoll
stilisierten Volksmusik
verpflichtet.
SKU: HL.49007591 Jahrbuch fur zeitgenossische Musik. Klaviermusik des ...(+)
SKU: HL.49007591
Jahrbuch fur
zeitgenossische Musik.
Klaviermusik des 20.
Jahrhunderts. Edited
by Siegfried Mauser,
Wilhelm Killmayer, and
Wolfgang Rihm. This
edition: Hardback/Hard
Cover. Book. Edition
Schott. Classical. 220
pages. Schott Music #ED
7867. Published by Schott
Music (HL.49007591).
ISBN 9783795703004.
German.
In
vielfaltiger und sehr
unterschiedlicher Weise
wurde das Klavier im 20.
Jahrhundert zum Klingen
gebracht:
Klangfarblich-experimente
lle Phanomene finden sich
bei John Cages
prapariertem Klavier,
komplex konzipierte
Rhythmik in Ligetis
Klavieretuden,
gattungsuberschreitende
Tendenzen bei Stockhausen
sowie
expressiv-architektonisch
es Klaviersatzdenken bei
Wolfgang Rihm. Mit
anschaulichen Analysen
und vielen
Notenbeispielen wird im
Band Klaviermusik des 20.
Jahrhunderts ein
spannender Einblick in
die Gattung des
zeitgenossischen
Klavierwerks gegeben. Mit
Kurzbiografie und
Werkverzeichnis werden
die Komponisten dabei
auch ausserhalb ihres
Klavierschaffens
vorgestellt.
Ensemble; Violin (Score) SKU: HL.50600895 For Violin Solo and Ensemble...(+)
Ensemble; Violin (Score)
SKU: HL.50600895
For Violin Solo and
Ensemble. Composed by
Bella, Má, and
té. Contemporary
Music. EMB. Classical.
Softcover. 44 pages.
Duration ca 10'. Editio
Musica Budapest #Z14924.
Published by Editio
Musica Budapest
(HL.50600895).
ISBN
9790080149249.
12.25x9.25x0.405 inches.
Mate Bella.
Trance
means an altered state of
mind in which a person
becomes capable of
communicating with
spirits by the means of a
ritual. Echo like sounds
have a significant role
in the piece, they were
achieved by aleatoric as
well as metric materials.
Our prehistoric ancestors
experienced echo as a
side effect of rituals
they performed, basically
they heard the echo of
their own voices but they
believed these sounds
came from their
ancestors. As 2013 was
the 90th anniversary of
Gyorgy Ligeti's birth, my
piece pays respect to his
musical heritage. In this
regard the piece
references Ligeti's
artistic aesthetics and
in some cases uses direct
musical quotations.(Mate
Bella, 2013)The work won
first prize at the 2013
New Hungarian Music Forum
In memoriam Gyorgy Ligeti
composer's competition in
chamber music category.
It was premiered by
Katalin Kokas and the
Hungarian Radio Symphony
Orchestra conducted by
Gergely Vajda on 25
September 2013 in
Budapest.
Parts. Composed by
Gyorgy Ligeti. Arranged
by Gyorgy Ligeti. Sheet
music. Concertino
(Chamber Orchestra).
Classical, Contemporary.
Set of Parts. Composed
1949. 180 pages. Duration
11'. Schott Music #CON
188-50. Published by
Schott Music
(HL.49027585).
Score. Composed by
Gyorgy Ligeti. Arranged
by Gyorgy Ligeti. This
edition: Saddle
stitching. Sheet music.
Concertino (Chamber
Orchestra). Classical.
Score. Composed 1949. 44
pages. Duration 11'.
Schott Music #CON188.
Published by Schott Music
(HL.49001892).
ISBN
9790001024785. UPC:
073999939835.
9.0x12.0x0.188
inches.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Choir Sacred SATB choir (a cappella 16-voice mixed chorus) - Difficulty: medium ...(+)
Choir Sacred SATB choir
(a cappella 16-voice
mixed chorus) -
Difficulty: medium to
medium-difficult
SKU:
PE.EP5934
Composed by
Gyorgy Ligeti. Choral
Works (inc. Oratorios).
Edition Peters. 20th
Century. Vocal score.
With choral notation. 19
pages. Duration 00:09:00.
Edition Peters
#98-EP5934. Published by
Edition Peters
(PE.EP5934).
ISBN
9790014042295. UPC:
9790014042295. 9x12
inches.
English.
One of the
great classics of 20th
century choral modernism.
Ligeti's thrilling 'Lux
Aeterna' achieved global
fame following its use on
the soundtrack to Stanley
Kubrick's 1968 film
'2001: A Space Odyssey'.
For 16-part Choir SATB,
the work deploys Ligeti's
technique of
micropolyphony and uses
cluster chords to create
a densely buzzing haze of
sound. Vocal Score.
Violin SKU: HL.50499695 First edition. By Barta. By Andras Szollos...(+)
Violin
SKU:
HL.50499695
First
edition. By Barta. By
Andras Szollosy. Edited
by Barta Mihaly. 20th
Century. EMB. Classical,
Contemporary. Softcover.
Composed 2014. 8 pages.
Editio Musica Budapest
#Z14885. Published by
Editio Musica Budapest
(HL.50499695).
ISBN
979080148853.
9.0x12.0x0.063 inches.
Andras Szollosy; Mihaly
Barta.
Andras
Szollosy (1921-2007) was
one of the most
significant Hungarian
composers of the second
half of the 20th century,
yet his oeuvre has not
become as well-known as
that of Gyorgy Ligeti,
two years his junior, or
of Gyorgy Kurtag, five
years his junior.
Szollosy did not compose
many works and he was
strict about which of
them he would allow to go
public. As a younger
colleague of his once
remarked: He only
composed his good works.
Szollosy's Sonata for
Solo Violin, which was
written at the age of 26
and was publicly
performed only in 2006,
almost 60 years after its
composition, fell victim
to his self-criticism.
Although the model of
Bartok's Sonata for Solo
Violin of just three
years earlier was
obviously on the young
composer's mind, he was
no epigone of the great
master. From the aspect
of both composition and
instrumental technique,
the 11-minute Sonata for
Solo Violin represents
exacting and prominent
music, and is a
remarkable piece among
works written for the
violin in 20th-century
Hungarian music. The
score of the posthumously
published work was edited
by the soloist of its
world premiere, Michael
Barta.
Ave Maria Chorale SATB SATB divisi, A Cappella - Intermédiaire Laurendale Associates
SATB choir divisi (a cappella) - Late Intermediate SKU: MN.CH-1296 Compos...(+)
SATB choir divisi (a
cappella) - Late
Intermediate
SKU:
MN.CH-1296
Composed
by Andrew Bonacci.
Catholic Year A
Immaculate Conception.
21st Century. Choral
score. Laurendale
Associates #CH-1296.
Published by Laurendale
Associates (MN.CH-1296).
UPC:
765844005764.
Ave
Maria was composed for
the University of Kansas
Choirs, and dedicated
with appreciation to
Simon Carrington (Kings
Singers). It was
premiered by the Oread
Consort at Edington
Priori Church in
Wiltshire, England in May
of 1997. The Gregg Smith
Singers brought new life
to this work at the 2000
Adirondack Festival of
American Music in Saranac
Lake, and followed with a
recording on the Living
Artist series. This piece
was inspired by Gyorgy
Ligeti's setting of Lux
Aeterna (1966), as well
as by Giuseppe Verdi's
Ave Maria, the scala
enigmatica armonizzata a
Quattro voci (1898). It
is shaped by a series of
breath-like harmonic
swells leading to
climactic homophonic
statements of the text,
with strident voice
pairings yearning for
resolution. New York
writer Watson Bosler
describes the work as an
iridescent wash of color
as an intricate web of
interrelated melodic and
rhythmic themesThis Ave
hymns not the sugar-water
Virgin of Gounod or
Scott, but rather the
powerful Goddess Yeats
depicts: The Roman Empire
stood appalled:/ It
dropped the reins of
peace and war/ When that
fierce virgin and her
Star/ Out of the fabulous
darkness called.
Choral (SATB a cappella) - intermediate SKU: HL.49001404 Three Hungari...(+)
Choral (SATB a cappella)
- intermediate
SKU:
HL.49001404
Three
Hungarian Folksongs.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Schott Chorverlag
(Choral Music).
Classical. Choral Score.
8 pages. Schott Music
#C46764. Published by
Schott Music
(HL.49001404).
ISBN
9790001134187. UPC:
073999352405.
7.5x10.75x0.036 inches.
Hungarian.
Cello - difficult SKU: HL.49018988 Cello and Piano Performance Score(+)
Cello - difficult
SKU:
HL.49018988
Cello
and Piano Performance
Score. Composed by
Detlev Mueller-Siemens.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 2008-2009. 96
pages. Duration 18'.
Schott Music #ED20830.
Published by Schott Music
(HL.49018988).
ISBN
9790001171601.
The
title 'called dusk'
quotes the last line of
the prose fragment
'Lessness' by Samuel
Beckett: 'Figment dawn
dispeller of figments and
the other called dusk'.
As regards the
compositional structure,
the three movements of
the work written 'in
memoriam Gyorgy Ligeti'
are based on the tones of
a Kaddish which, however,
cannot literally be heard
but, with the fingertips
placed on the cello
strings, generate
artificial harmonics of
totally different
sequences of tones.