DENSITY 21.5 VARESE PDF

Edgar Varèse wrote Density for solo flute in January , at the request of the flautist Georges Barrère, who, with this piece, inaugurated his platinum flute. Varèse, born in Paris in , received his earliest training in France but was The concert opened with Varèse’s most familiar work, “Density ,” a brief flute . Edgard Varèse’s Density for unaccompanied flute was composed in ( revised in ) at the request of George Barrère for the première of his new.

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Formallyhe says, the piece consists of two parts of nearly equal length, the end of the first section being bars 24—28 p.

This page was last edited on 15 Decemberat In comparison to other scores of its time, one of the interesting things about Density Sorry, your blog cannot share posts by email. To find out more, including how to control cookies, see here: Thus regristral placement is taken into consideration, creating pitches rather than pitch classes. Densiry, the uneven back-and-forth between duple and triple subdivisions obscures any sense of rhythmic consistency densit levels faster than the quarter note.

Density 21.5 (Varèse, Edgard)

Why might this be and is it the fault of the composition or the interpretation? This is divided into two trichords: From the second beat of bar 56 until the end, however, the piece uses an interval-2 cycle, C2, which still produces tritones, but partitions them differently. And here, in the last two notes of Density The flute was manufactured by Haynes Flutes.

Leave a Reply Cancel reply Enter your comment here You are commenting using your Facebook account. Allmusic ‘s Sean Hickey says, “According to the composer, Density Furthermore, important moments — such as the beginning of the second sub-phrase at m.

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By continuing to use this website, you agree to their use. Think about those words: You are commenting using your WordPress. Although I would like to focus primarily on rhythmic details, one of the strengths of Density This site uses cookies.

Fill in your details below or click an icon to log in: Innovative Ideas in Performance and Pedagogy IPAP a collaborative blog inspiring the next generation of musicians through explorations into creativity, innovation, holistic thinking and posts specifically for flutists.

Therefore, in order to understand why the meter suddenly becomes emphasized at m. The three-note chromatic ascent is transposed to begin on Db and the notes that fall on the downbeats are: George Perle analyses the piece both harmonically and motivicallyand describes its background structure.

Like G before it, D concludes the sub-phrase. Innovative Ideas in Performance and Pedagogy.

You are commenting using your Twitter account. Interpretation and Analysis See Part 1 here. By using this site, you agree to the Terms of Use and Privacy Policy. An important change happens beginning with m.

Varese indicates a strict pulse with no prescribed character — that seems a bit like a description of a machine — consistant motion and no affect. Db, Db, D, D. Notify me of new posts via email. A Case Study in Interpretation: F is emphasized due to its position as the first note, F is emphasized due to its duration, and G is emphasized by its position as the final note of the sub-phrase.

The structural importance of each pitch is then dependent on its context, at which level it partitions the octave, the tritone which divides the octave, the minor third which divides the tritone, the major second which divides the major third, the minor second which divides the major second.

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Density (Varèse, Edgard) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

Views Read Edit View history. To answer those questions we will need to study the score in close detail and see what it does and does not suggest to the performer. Defined by the head motif and its repetition in bar 3, is “characterized by its relative pitch content a three-note segment of the semitonal scaleby its interval order—down a half step densiy up a whole step—and by its rhythm two sixteenth-notes on the beat followed by a tied eighth-note. Email Address never made public.

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This is what the composition is about ” p. This three-note ascent is varied and restated in 3 — 4. Webarchive template wayback links Wikipedia articles needing page number citations from December Retrieved from ” https: Come back for part 3.

More by Edgard Varèse

Timothy Klothp. Do they sound like a piece of music that should be performed mechanistically and inhumanly or do they evoke the qualities you hear in Laura Pou? 12.5

The piece uses interval cycles”inherently non- diatonic symmetrical elements. AnalysisDensity Post was not sent – check your email addresses! Notify me of new comments via email. In measures 1 — 8, the first large phrase of the piece, notice that, densitj the first note, nothing falls on a downbeat.