CHACONNE.

Posted By : peterjarvis
Piece Title : Chaconne.
No. of times Viewed (August 2017) :14
Total No. of times Viewed :808
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Dificulty Rating :
Level :
Composer / Arranger : Westergaard, Peter
Composer / Arranger Details: to be added
Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion
Instrument / Discipline :
Instrumentation : N/A
Range of Instruments / Number of Drums :
Written for / Commissioned by : Composed for Peter Jarvis commissioned by Composers Guild of New Jersey
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Unknown
Accompanied :N/A
Publisher :Calabrese Brothers Music, LLC
Publishers Website :www.calabresebrothersmusic.com
Publisher Details : Publishes contemporary composers
Year Composed / Copyright Date :1998 / 
Duration :6Minutes
No. of Mallets/Sticks Required :N/A
Special Needs :
Sheet Music Available From :www.steveweissmusic.com/product/1102691/mallet-solo      Check to see if in stock
Programme Notes / Performance Details :I hope my appropriation of the title of the final movement of Bach`s Second Partita for solo violin (BWV 1004) will be understood as an act of homage rather than chutzpa. After all, the general intent of all the composers involved in this project is much like Bach`s in writing the solo-string sonatas and partitas: to create a solo literature for an instrument that has become a staple of the ensemble literature of our time. And my own particular intent, like Bach`s, is to maintain the same depth of polyphonic design in a piece for an instrument that usually plays only one note at a time that I would in an ensemble piece. (The fact that the dialect is that of Vienna, not Co íthen, gives some sense of the origins of my kind of polyphony. If you don`t know how the quote continues, don`t worry: all you`re missing is a bad pun.) As for obvious resemblances between this chaconne and its predecessors---Bach`s included---there are a few. The meter is the traditional triple one, and there are clearly defined eight-measure units. Each measure in the unit uses the same rhythmic pattern, and the number of attacks in the pattern progresses from few (one in the first eight-bar unit) to many (two, three, four, six, and eight) only to revert to few and build all over again. There is, however, no one bass line or series of chords that forms the basis for each eight-measure unit. Rather, all the lines and all the chords are the result of combinations of four closely related tetrachords. - Peter Westergaard
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