BERIO SEQUENZA OBOE PDF

Shaktim Notation A new idea of this notation is that it is spatialfor example the first full line. For much of the piece, Berio notates measures in seconds instead of bars[4] although there are some sections of the work that use traditional rhythmic notation. Chemins IVfor oboe and eleven strings, can be listened to as a commentary to my Sequenza VII for oboea commentary that amplifies and develops certain harmonic aspects of the original Sequenza. VAT plus shipping costs.

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Techniques that change color or timbre of the instrument : - Extension registry - Use of harmonics and harmonic alternating with real notes - Flatterzunge frulato - Using different fingerings for the same note - Rolantes notes - Use of cane or instrument only Techniques that alter the amount of sounds produced simultaneously : - Sound emission sung and played at the same time - Multiphonics - Fifth In Sequenza vii all the resources mentioned above are not used.

Below I discuss in what consist the most important. The most important novelty of this work are the color changes that Berio used for the same tone.

To interpret the Sequenza vii usually is used a longer tying and scraping and narrow reed, especially if the model used es Marigaux. In the sequence we find the following resources: Harmonics to the same note different colors. Glissandi : There are two types of glissandi : the apparent and the real. The apparent glissando, a change in the mouth produces a modification up or down depending on glissando indicated in the pitch of the note, change can be up to more than a quarter tone.

If there is flashed to the final grade is given a sense of glissando but without actually going through all intermediate heights occurs. In real glissandi , conversely , the modification in the mouth is accompanied by a gradual movement of the fingers to cover or uncover the keys of the oboe, which is really all heights obtained. In fact, it goes through almost every quarter tone fingerings. Notes as short as possible. Double staccato : It consists of cutting the sound with the tongue once normal staccato and again with the throat, as if the letters "t" and "k" were pronounced.

Harmonic sounds The harmonics can be produced by other than the actual position fingerings and are often the result of another fundamental sound. In the case of the note "B", it will have to play with 5 possibilities fingering 5 different harmonics , numbered them all.

The oboists playing this piece choose the intensity of each harmonic from number 1 to 6 go dynamically decreasing, ranging from strong to pianissimo as possible. Fingering does not matter as much as color. The notation for playing a harmonic sound is a white circle on the head of the note. As I said above, in the Sequenza vii are numbered the different harmonics.

Multiphonics The oboe is traditionally a monophonic instrument, to digerencia piano, but the possibility exists that through certain positions is achieved a sound formed by the accumulation of others, a multiphonic. Multiphonics also appear to result from a chord in fifths. The notation Berio has used for a multiphonic is by writing a Z on the stem of the notes. One possibility is: Double trills They get whipped by alternating two different keys that allow us to do the same trill.

You can also make double trills on the same key, eg F - G. In Sequenza vii following double trills appear: Frulatti It can be done in two ways: by producing the sound "r" to the front of the tongue or making the French "r" sound with the soft palate and the uvula vibrating. The latter form seems the most effective and easy to control. Berio pointing Frulatti the following way:.

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Luciano Berio: Sequenza VII

Sequenza VII for oboe solo It was composed in and subsequently revised in Berio came to prefer this version and was raised rewritten version oboe with the effects of soprano saxophone vii b. This pitch sounds quietly produced by another instrument or synthesizer to "lend a faint echo the solo instrument ". From the sound starting "B 3" , is gradually introduced a nearly complete chromatic register , to finish the work back to the same note.

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Luciano Berio

Techniques that change color or timbre of the instrument : - Extension registry - Use of harmonics and harmonic alternating with real notes - Flatterzunge frulato - Using different fingerings for the same note - Rolantes notes - Use of cane or instrument only Techniques that alter the amount of sounds produced simultaneously : - Sound emission sung and played at the same time - Multiphonics - Fifth In Sequenza vii all the resources mentioned above are not used. Below I discuss in what consist the most important. The most important novelty of this work are the color changes that Berio used for the same tone. To interpret the Sequenza vii usually is used a longer tying and scraping and narrow reed, especially if the model used es Marigaux. In the sequence we find the following resources: Harmonics to the same note different colors.

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BERIO SEQUENZA OBOE PDF

Analysis Dr. The information below is what I feel performers of this work, and perhaps avid listeners, should know. There are other analyses of Sequenza VIIa that go into great detail particularly with regard to ideas about form and pitch class sets. I am enthusiastic about these other approaches to understanding this work, and they would complement this paper.

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BERIO OBOE SEQUENZA PDF

Indeed, appear new metal or plastic materials that require the use of new techniques. It happened a relationship of sculpture to architecture architectural sculpture and painting sculpture, painting. Painting From the forties to the mid-seventies are many vanguards and "modern trends". One of the painters who influenced Berio belonging to the current Abstract Expressionism was Jackson Pollock. Pollock The spatialist painting was developed in Italy by Lucio Fontana in the fifties. Postulated a "free art from all aesthetic artifice" which led him to investigate the spatial possibilities of painting by the discontinuity of the canvas. In the late sixties pop art came with L.

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