Search Music:

eight part ensemble and 4 solo violas

• Body: After Bach; computer-set 

  Full score | Hardcopy - computer set
  
  $26.00
  • • Quantity:
  • Borrow

for 13 string players (4,4,2,2,1) or for full string orchestra

Extra chairs or stools: these need to be knocked over loudly, so they must be placed away from the musicians in such a way that they will not fall onto the musicians; 2-4 very cheap old violins and/or violas that can be smashed and destroyed (optional);

Players' voices: the instrumentalists must be of both genders, as both male and females are required to scream and yell

This work begins with two authentic folk melodies from two (European) ethnic groups that, most recently in 2008, were engaged in armed violence. The similarity of the melodies, and the fact that layman cannot tell the two melodies apart, highlights the fact that ethnic hatred requires group-internal discourses to be nourished and exacerbated.

Violence between two or more groups of people that see each other as ‘the others’, continues to shape the lives of millions of people globally.
Composer Samuel Gray has first-hand experience of ethnic violence as an independent volunteer in Kosovo. While Gray realises that is impossible to represent the suffering and terror of war and its emotional and societal aftermath in music and does not wish to belittle such experiences through this work, he believes that in order for contemporary classical music to continue play a role in modern society, it needs to not ignore the problems that modern society has to deal with.

• Gray: Ethnic Conflict for String Ensemble; computer-set 

  Score and parts | Pdf - computer set
  
  $25.00
  • • Quantity:

• Gray: Ethnic Conflict for String Ensemble; computer-set 

  Score and parts | Hardcopy - computer set
  
  $25.00
  • • Quantity:

• Gray: Ethnic Conflict for String Ensemble; computer-set 

  Full score | Hardcopy - computer set
  
  $20.00
  • • Quantity:
  • Borrow

• Samuel Gray: Ethnic Conflict for String Ensemble 

  Digital sound file - MP3
  

minimum of four 1st violins, three 2nd violins, two violas, two cellos, and one double bass.

• Tremain: Five Epigrams for Twelve Solo Strings; facsimile 

  Full score | Pdf - facsimile
  

• Tremain: Five Epigrams for 12 solo strings; facsimile 

  Full score | Hardcopy - facsimile
  
  $5.00
  • • Quantity:
  • Borrow

• Ronald Tremain: Five Epigrams for Twelve Solo Strings; audio 

  Media on Demand | Embedded
  

• Music by Ronald Tremain  Year: 1967 

  Vinyl (LP or EP)
  

4 violins; 3 violas; 3 cellos; 2 double basses

• Rimmer: Gossamer; facsimile 

  Parts - written | Hardcopy - facsimile
  

• Rimmer: Gossamer; facsimile 

  Full score | Hardcopy - facsimile
  
  $9.50
  • • Quantity:
  • Borrow

• Music for Strings. Vol. 3.  Year: 1986 

  Vinyl (LP or EP)
  

• Music for Strings. Vol.3.  Year: 1986 

  Cassette
  
  • Borrow

for solo violin and 8 violins, 2 violas and 2 cellos

The mode of perception invoked during aesthetic experience seems to be quite different from that of quotidian experience. We perceive more intensely and in more detail. We are less concerned with the object as being representative of a class of objects and focus more on its specificity, becoming hypersensitive to its form. Certainly, we also look for “meaning”, but in a much more speculative, open fashion. Aesthetic objects often evoke meaning in an intransitive sense – the aesthetic object is allowed to “mean” without necessarily “meaning something”.

In response to these thoughts about the nature of the aesthetic experience I have tried to focus on the finest possible gradations of difference in the sounds I have employed in this work. In particular, the performers must articulate microscopic differences in timbre, dynamics, pitch and speed of repetition, bringing these distinctions to the foreground as the basic material of the composition.

The function of the solo violin, supported by a quartet of violins, is no more significant than that of the remaining ensemble. Together they articulate one unified structure; they simply take different paths through this structure, converging at a point near the end of the piece. When the two paths converge we finally hear the material from which the whole piece is derived. In retrospect, we may become aware of the development of this material, which has been rendered somewhat covert by its non-linear presentation.

A significant factor in the shaping of the whole piece is the title. A recording of the title was subjected to a spectral analysis and the resulting information was used to shape, in a selective and fragmented way, the behaviour of the instrumental parts over time. I avoided directly translating the harmonic makeup of the spectral analysis to the piece, focusing instead on transferring the small shifts and changes in individual partials into microscopic changes in pitch and timbre. The result is that the microrhythmic and macrorhythmic characteristics, as well as the overall compression and expansion of the spectral field are identical in both the finished piece and the spectral analysis of the title.

• Hall: Whispered by the perfumed breath of silence; facsimile 

  Full score | Hardcopy - facsimile
  
  $22.00
  • • Quantity:
  • Borrow