At that time, Berio tended to reject traditional musical notation in a manner similar to Earle Brown or Christian Wolff. In his instructions on the score, Berio writes, a B natural must sound throughout the piece. The sound-source should preferably not be visible. This can be an oscillator, a clarinet , a pre-taped oboe, or something else. The intensity should be kept to a minimum with quite small variations. The B natural should give the impression of lending a slight resonance to the oboe.
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Walter Trampler , for whom Chemins III was written, believed it had in fact been composed first and the Sequenza then extracted from it Uscher —83 , — The relationship of the three works is described by Berio as being "something like the layers of an onion: distinct, separate, yet intimately contoured on each other; each new layer creates a new, though related surface, and each older layer assumes a new function as soon as it is covered" Smalley Analysis[ edit ] Sequenza VI exploits the harmonic possibilities of a fundamentally melodic instrument.
It does this in two ways: first, by implying harmonies with melodic lines circling continuously through a small number of fixed pitches and, second, by presenting long series of three- and four-part chords in which the pitches are kept sounding by means of across-the-stings tremolo Smalley The work alternates these two gestural ideas melodic and chordal , producing a sectional form based on changes in texture, gestural predominance, and shaping processes.
The opening A section is an exposition dominated at first by the tremolando chords, but also using short melodic segments to articulate phrases and create internal fluctuations. These melodic figures gradually increase in prominence over the course of this section.
In a reversal of the process found in the exposition, the tremolando chords gradually increase in frequency over the B section. References[ edit ] Holmes, Reed Kelley PhD diss. Austin: The University of Texas at Austin. Further reading[ edit ] MacKay, John Interface—Journal of New Music Research 17, no.
Luciano Berio: Sequenza IV
Analysis[ edit ] The opening chords present all the pitch materials of the piece. They are of two kinds: 1 "resonant" chords made by superposing two major, minor, augmented, diminished triads sometimes with an added seventh or ninth , to form basically "harmonic" structures, and 2 "anti-resonant" or "noisy" chords based on chromatic relationships and containing a large number of seconds and fourths, giving them a more "inharmonic" character Guigue and Onofre , These chords are progressively horizontalised, creating "a syntactic flux between structurally opposite and intermediate constituents" MacKay , The treatment of tempos also serves to govern the overall form.
02Berio - Sequenza II Arpa
Sequenza IV (author's note)