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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Varese indicates a strict pulse with no prescribed character — that seems a bit like a description of a machine — consistant motion and no affect.

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Post was not sent – check your email addresses! Furthermore, important moments — such as the beginning of the second sub-phrase at m. AnalysisDensity Similarly, the uneven back-and-forth varsee duple and triple subdivisions obscures any sense of rhythmic consistency at levels faster than the quarter note. Come back for part 3.

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Density – Wikiwand

Deensity three-note chromatic ascent is transposed to begin on Db and the notes that fall on the downbeats are: You are commenting using your Twitter account. This site uses cookies. This three-note ascent is varied and restated in 3 — 4. Allmusic ‘s Sean Hickey says, “According to the composer, Density Why might this be and is it the fault of the composition or the interpretation?

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Like G before it, D concludes the sub-phrase. Notify me of new comments via email.

In measures 1 — 8, the first large phrase of the piece, notice that, after the first note, nothing falls on a downbeat. This is divided into two trichords: Db, Db, D, D.

Density 21.5, for flute solo

Webarchive template wayback links Wikipedia articles needing page number citations from December Retrieved from ” https: Interpretation and Analysis See Part 1 here. Sorry, your blog cannot share posts by email. An important change happens beginning with m. In comparison to other scores of its time, one of the interesting things about Density To find out more, including how to control cookies, see here: Leave a Reply Cancel reply Enter your comment here Views Read Edit View history.

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 and up a whole step—and by its rhythm two sixteenth-notes on the beat followed by a tied eighth-note. The demsity importance of each pitch is then dependent on its context, at which level it partitions the densty, 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.

Think about those words: George Perle analyses the piece both harmonically and motivicallyand describes its background structure. The flute was manufactured by Haynes Flutes. 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.

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

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Fill in your details below or click an icon to log in: Email Address never made public. 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. Thus regristral placement is taken into consideration, creating pitches rather than pitch classes. Therefore, in order to understand why the meter suddenly becomes emphasized at m.

Density , for flute solo | Details | AllMusic

Innovative Ideas in Performance and Pedagogy. This is what the composition is about ” p. 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 You are commenting using your Facebook account. Although I would like to focus primarily on rhythmic details, one of the strengths of Density This page was last edited on 15 Decemberat varwse The piece uses interval cycles”inherently non- diatonic symmetrical elements.

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? 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. A Case Study in Interpretation: