1. Sequenza Iii

Berio sequenza for clarinet pdf. Free Download e-Books 18096 none 18ecc5726fdd42c2 PresentationFramework. Improve Accuracy in Real-Time. A POLYPHONIC MODE OF LISTENING: LUCIANO BERIO’S SEQUENZA XI FOR GUITAR. (1975) is on Sequenza VII for oboe. TRACKLIST Luciano BERIO (1925-2003) Sequenzas I-XIV CD 1 63:02 [1] Sequenza I for flute (1958) 5:16 Nora Shulman Recorded.

Sequenza III for voice (1965) The voice carries always an excess of connotations, whatever it is doing. From the grossest of noises to the most delicate of singing, the voice always means something, always refers beyond itself and creates a huge range of associations. In Sequenza III I tried to assimilate many aspects of everyday vocal life, including trivial ones, without losing intermediate levels or indeed normal singing.

In order to control such a wide range of vocal behaviour, I felt I had to break up the text in an apparently devastating way, so as to be able to recuperate fragments from it on different expressive planes, and to reshape them into units that were not discursive but musical. The text had to be homogeneous, in order to lend itself to a project that consisted essentially of exorcising the excessive connotations and composing them into musical units. This is the “modular” text written by Markus Kutter for Sequenza III.

Give mea few wordsfor a woman to singa truth allowing us to build a housewithout worryingbefore night comes In Sequenza III the emphasis is given to the sound symbolism of vocal and sometimes visual gestures, with their accompanying “shadows of meaning”, and the associations and conflicts suggested by them. For this reason Sequenza III can also be considered as a dramatic essay whose story, so to speak, is the relationship between the soloist and her own voice Sequenza III was written in 1965 for Cathy Berberian. Luciano Berio.

Luciano Berio The score I was reading for this exercise was actually Chemins IV, which is an arrangement for Oboe and strings. However, the Oboe part – the most important – is the same. Sequenza VII by Luciano Berio is a composition for performance on Oboe and Oboe alone. The entire series of Sequenzas, the composition of which took place over 34 years of Berio’s life and explore virtuosic applications of both listener and player. (Garland Online) There are a few very important characteristics about this piece, first is the continually shifting meter: 3/4, 5/8, 4/8, 7/16, 3/8, 5/16, 2/8 – basically one bar of each, and that is only the first seven bars of the piece. This makes counting the piece rather difficult, but I will quote a friend of mine: “my father used to say that the easiest way to count odd-meter is to ignore the bar lines” (Simon Hawker), but it also makes for some interesting dynamics. Sequenza VII explores a concept that I’d known about, but never articulated: that being the exploration of a tone center and the “escape” from it (thanks Peter), or the exploration of the harmonic possibilities of that one tone center.

This particular piece uses different fingerings of the Oboe to get different timbres (?) from the same note. The idea of using one single drone note as a base and exploring the potential of that one note is used a lot in free improvisation and this idea as a musical theme is quite common.

The Oboe then leaps around quite radically in short bursts as if it is attempting to “escape” from the B, which it does do, only to be “trapped” again later in the piece on an F, where it then attempts to escape. The Sequenzas, as a series, follow similar themes of sonic exploration on a solo instrument which are hard to play and hard to listen to. In this particular example, Berio has shown us that you need only one instrument to create a dynamically moving piece that is full of intensity where the only recurring theme is that of “escape”; it is otherwise a non-standard structure in that it moves from an A section through to an S section, over 9 minutes without repeating anything. I learned some new terminology and musical ideas that would certainly be interesting to pursue, but the most interesting aspect of this composition was the use of different fingerings to change the timbre of the instrument on only one note. How, to engage a listener with minimal instrumentation, the piece needs to move very dynamically. It was a very interesting piece to study for my first time studying music in this way as I’ve never done any classical study at all. Hopefully this is the kind of thing we’re after.

Sequenza Iii

I guess with a bit of practice it will get better and more in depth.