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5 Short Pieces for Flute, Viola, and Violoncello


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There's so much to be said -with sometimes not enough time to say it. The same is true of music. So many ideas, and yet... we're left with so much longing after each piece.

This is the idea behind this work. 

The ideas are pretty basic. There's some dabbling in serialism, free atonalism, combining tonal systems with serial rows, and a little more. 

NOTE: The scores aren't that well done. I'm using Flat (a free notation software) since I can't install Finale or Sibelius to my chrome book -and I am moving the pieces from paper to there. I'll be updating the scores once my new laptop arrives and I can get Sib installed again. Until then, I've done my best in adapting to Flat. It's not a bad notation software (though the midi sucks). My apologies!

Hope you enjoy!

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Nice pieces.

Apart from the systems you use herem there is a basic principle of tension-relief. In some cases (as happens in III and I) it seems you loof for the tension most time. For example, in I the intervals are b2, 2, 4... dominating the whole piece. in III there are clusters like D#-E-F or the final chord G#-A#-B. It's not bad at all, but I miss the contrast of other relatively consonant groups.

II and IV have a richer texture with good counterpoint.

 

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3 hours ago, Luis Hernández said:

Nice pieces.

Apart from the systems you use here there is a basic principle of tension-relief. In some cases (as happens in III and I) it seems you loof for the tension most time. For example, in I the intervals are b2, 2, 4... dominating the whole piece. in III there are clusters like D#-E-F or the final chord G#-A#-B. It's not bad at all, but I miss the contrast of other relatively consonant groups.

II and IV have a richer texture with good counterpoint.

 

 

Let me elaborate a bit on each of the individual pieces, to address in more detail what you are pointing out.

I. This movement focuses more intently on suspension and the role it plays in alleviating dissonance. As you mention, each instrument sticks around a particular range (with some movement, but not a whole lot). The use of suspension is a technique I employ in many of my works.

II. Atonal counterpoint is difficult to write well -especially to make it work in a way that 'makes sense' to the listener. This particular movement uses only three pieces of thematic material (which makes sense considering there are three instruments). Glad the focus on counterpoint comes out strongly.

III. Yes, this movement is a sort of study in clusters. This movement sounds harsher in the midi rendering. Strings can handle dissonant passages quite effectively -especially if the dissonance is spread out in range. The material in this movement I also plan to utilize in a much larger work (currently in sketch form).

IV. This movement combines a seemingly tonal (or modal) melodic line in the viola with serial material in the flute in cello (the flute focusing on P0, P5, and P7, the cello I4, I11, and I9 of the same row). I may strengthen the tonality of the viola to bring that material more to the foreground (though I kind of like that the contrapuntal flute and cello passages and more forward layers that blur the texture). 

V. This short movement is inspired by a string quartet composed in 1931. Each of the instruments plays in unison (and unison octaves). I think the breakdown of the movement is easy to identify based on the score.

I'm not sure what you mean by the word 'loof'. I'm interested in hearing what your thoughts are.

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Loof was a typo, sorry. "Look for".

Interesting. You mentioned suspensions in part I. But in this context...., suspensions over what? 

Unfortunately, we take tonal concepts for atonal systems. A suspension resolves in some kind of chord tone. Here it is impossible. You have to made up some other device to establish a pitch, or pitches, as "rest" compared to other pitches. What happens in I (to my ears, of course) is that the level of tension is similar all over the piece.

Currently I'm reading this book... 

 

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