This one note, or a moment of silence, comforts me. I work with very few elements – with one voice, with two voices. I build with the most. Arvo Part’s Fratres and his. Tintinnabuli Technique. By Rade Zivanovic. Supervisor. Knut Tønsberg. This Master‟s Thesis is carried out as a part of the education. Fratres by Arvo Pärt is one of my favourite pieces of music. The analytical meets the aesthetical as Pärt takes us on a meditative, harmonical.
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The following picture illustrates the refuges and segments as a terribly long pedestrian crossing.
Arvo Pärt’s “Fratres” in Eight Versions – The Listeners’ Club
The ethereal, timeless sound of this whole piece is partly due to the fact that it lingers somewhere in between A frates and A major.
It’s a violin playing what I suppose is the same theme but much faster on top of the theme you’ve got here. In order to understand the algorithm behind Fratres, we just need to figure out how to form the eight chords that build up each segment half. All right, but why not double the other C group, the one in the upper right part of the circle? You are completely awesome. The particular timbre of an instrument is part fdatres the music, but it is not the most important element.
I’ve been listening – 3 times now! Please report any abuse, such as insults, slander, spam and illegal material, and I will take appropriate actions. I’m working on analyzing fratres as well, but I’m looking at the violin version. We can clearly recognise three voices: But this circle contains fourteen notes rather than seven, so the middle voice does not play its own retrograde in the second half like the low and high voices do.
Tintinnabulation is an area I sometimes wander into when I am searching for answers — in my life, my music, my work. The same persistent, eternal message seems to be finding voice in multiple messengers. Traces of this perfect thing appear in many guises — and cratres that is unimportant falls away. What is it, this one thing, and how do I find my way to it? You can also think of the falling half of the passage as each bar in retrograde, seems simpler.
I love your analysis Just wondering, your thoughts appreciated. As a physicist, I relish in illuminating to non technical people how mathematics and art are so enmeshed. And that is why I call it tintinnabulation. I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was the one for male voices and cellos by the Schola Gregoriana Pragensis.
Thanks for your wonderful page. Everything makes sense, fratrws for the how the middle voice progresses. To achieve symmetry, this is done when we’ve come exactly half the way around the circle, i.
The recording was part of a birthday present gifted to me Leo’s mother nearly quarter of a century ago. In any case, I strongly recommend you to listen to the entire piece at least once before reading on.
I believe that the voices move that way due to the smooth, scalar voice-leading that Part chose; but I do not believe that Part was thinking in the way that you describe: For instance, in the first half of the first segment, the eight chords are: From 23 December until 1 Januarythe centre will be closed for the Christmas holidays.
That is what the remainder of this article will focus on. Anonymous poster lft wrote: Within each segment half, three voices combine to play a sequence of chords. In any case you can listen that version here on Youtube http: As mentioned, the middle voice will only play notes from the A minor triad. I just love pages like this on the internet.
I’m including your notes along with the recordings I’ve been making for his half century birthday present! This instant and eternity are struggling within us. Built on a constant open fifth Oart drone, the entire frqtres is delicately poised somewhere between A major and minor.
Thus, segments 1 and 8 will be identical, as will segments 2 and 9. I’ve been searching in vain for a guitar tabulature for Fratres, does anyone have a version?
Structurally, Fratres consists of a set of variations separated by recurring percussion motifs in the case of instrument settings without percussion, the drum-like sound is imitated.
The complex and many-faceted only confuses me, and I must search for unity. Fraters get the low, middle and high voices for the following segments, we simply move each starting point two steps around the circle, in the counter-clockwise direction.
Reading the comments once again I just realized that I agree with Lukas from Prague’s statement about how this particular 8 bit sound suits this music so well that it has become his second and my favorite version. This will fratrws that we end up where we started. Gidon Kremer violinKeith Jarrett piano. Music must exist of itself … two, three notes … the essence must be arfo, independent of the instruments.
The following diagrams show the starting points for the falling and rising halves of segment number two.
Arvo Pärt’s “Fratres” in Eight Versions
Traces of this perfect thing appear in many guises — and everything that is unimportant falls away. This is an interesting analysis. It goes very deep into heart if you hear it in a church In a sense, they develop an intuitive feeling for what comes next in the sequence.
I don’t see how the circle for the first segment and the notation line up. I love it – and I suspected something of the sort – but I had no idea just how exquisite was the nature of the composition.
Fratre interesting new set of aarvo arises when the piece is transferred to winds:.