A string quartet written between 1990-1994. Performed by the Bethel Quartet on October 7, 2004 at the KNOB New Music Festival, Wichita, Kansas
Duration : 0:5:2
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This entry was posted in string quartet and tagged 12-tone, 20th, atonal, avant, century, dodecaphonic, garde, modern, Music, pointillism, Quartet, Schoenberg, string, Webern. Bookmark the permalink.
You’re right – it’s …
You’re right – it’s not necessary to use the 12 tone technique in the Schoenberg/Webern manner. I did the same thing you’re talking about with my jazz fusion band. It’s on this page – “Shock Treatment” – the “A” section is a 12-tone row in which each band member plays a different version.
I like this, like …
I like this, like most music of this style I hear the sounds of nature within its structure.
I just started studying pointallism and atonality in music. I have to say I’m quite pleased with the results. I rarely write pieces that are completely atonal/pointallistic though, I like spreading them through my works in a calculated manner more. I alos write metal music for a band, the members had a good time when I gave them music like this.
I like this piece. …
I like this piece. It does indeed sound like Webern.
Thanks!
Thanks!
5*****!!!!
5*****!!!!
Writing music takes …
Writing music takes a huge amount of time and I don’t want to waste it writing for the “majority” who already have plenty of music to listen to. My only rule is to write what I would like to listen to myself.
why cant you write …
why cant you write a tune that most humans on this earth can relate to ?
I agree with Corn15 …
I agree with Corn15… This isn´t avant-garde… but it sounds good, very very good. And it really sounds like Webern.
Well, that’s true I …
Well, that’s true I suppose. You can’t expect perfect honesty and absolutely accurate descriptions in the tags…
Good work, but this …
Good work, but this isn’t avant-garde as you placed in your tags.
… as the …
… as the movements progress the use of the row becomes more complex – simultaneous combinations of pitches 1-6 in one instrument while 7-12 are used in another, etc.
Thanks for asking!
Hi – glad you found …
Hi – glad you found my other page. To answer your question – no, not exactly. Each of the five movements uses it’s own row, and for each one I created a matrix with all the possible transpositions. Each progressive movement becomes somewhat more complex in the use of the rows. In Mvt. 1 it’s pretty straight-forward presentations of the row – the pitches distributed among the instruments. When the notes of one row are used I move to another form….
This is great! Just …
This is great! Just interested: Did you rotate the notes in strict twelvetone technique?
that’s a good rule …
that’s a good rule to follow – but you’re not the only one!
that’s a good rule …
that’s a good rule to follow – but you’re not!
Thanks again – I am …
Thanks again – I am a fan of Webern also. Composition takes so much time – my thought is that I should only write what I personally would most like to hear (because I might be the only one who wants to hear it!).
i had noticed! …
i had noticed! reminds me of his little pieces for solo cello. webern is wonderful
Thanks for your …
Thanks for your comment. I wrote it. You can probably tell that I like Webern – it’s a twelve-tone work in the “Webern style”. I appreciate your interest!
what is the …
what is the composer’s name? it’s really quite well done.