Berio – Chemins IV by Kevin Baldwin Free Listening on SoundCloud. Like a reverberating chamber, the development of Chemins Chemlns mirrors and shatters the elements of Sequenza VIIsometimes receiving their anticipated echo in such a way that for the listener the oboe part seems generated by the eleven strings. VAT plus shipping costs. Berio sequenza oboe pdf Keywords: Berio; Sequenza VII; Chemins IV; Extended Techniques RV/JLV. Berio reworked Sequenza VII in a version for oboe and 11 strings in and in. “Sequenza V IP by Luciano Berio: Background, analysis and performance show a picture of the oboe and assign numbers to each key.
SequenzaVII in 3 sections:
SECTION I: | Begining (Line 1, c.1) to the fist silen fermata (Line 8, 1st c.orc.92). This section is approximately 176'. | |
Rhiythmic character:Section I contains mainly NOTATION SPACE with only a few tweens strictly RHYTHMIC NOTATION. Section I should sound 'free' or 'improvised' in character. | ||
Section I contains only 3 fermatas therefore is very active when compared with section III. | ||
SECTION II: | After the first silen fermata (Line 8, c.1 or c.92) to the second silen fermata (Line 10, c.4 or c.121) | |
This section is approximately 60' and has only one fermata. | ||
Rhiythmic character: Section II, in terms of rhythmic material, has shaped arc. Space - STRICT - Space - STRICT - Space | ||
- Section II contains the first appearance of the note G5 (the sharpest). (Line 9, c.5) heralding the climax of the piece (laong 'G' sharpest appears in Line 10, c. 6-9) – The beginning and end of the section II is similar to the start and end of the piece. Section II is the center of the Sequenza, and half of the 'Space' section (center of center) is the longest and calm section of Sequenza VII. This is the 'eye of the storm' and clearly have a noticeable calm character in contrast to the surrounding material. | ||
SECCIÓN III: | From after the second silen fermata (Line 10, c.4) to the end (Linea 13, c.13 or c.169) - This section is approximately 172' (almost exactly the same as the Section I) | |
Rhiythmic character: Section III begins with about 11 seconds of spatial material ('free caracter'). This space material includes sharpest G of the climax 'G' and ends with notes of the 'golden section' (Line 10, c. 12). After this part, the Sequenza VII consists entirely of strict rhythmic material with pieces of space material or 'free.' Therefore, this last section of the Sequenza VII is very different in character from the first two sections. Almost everything sounds 'strict' and contains some long fermatas (24 of 30 of the piece). These fermatas create some 'stop-times' with notes or multiphonics. This entire section can be thought of as a long delayed scale or calming from the first two sections that had a more frenetic character. |
The Sequenza VII begins in piano, gradually accumulating a musical tension that leads to a climax to end piano again.
Basic information of sounds: