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[ 0 => '{{italic title}}', 1 => ''''''Sequenza VI''''' is a composition for solo [[viola]] by [[Luciano Berio]], part of his series of fourteen ''[[Sequenza|Sequenze]]''.', 2 => '==History==', 3 => '''Sequenza VI'' was written in 1967 for [[Serge Collot]], to whom the score is dedicated. It also forms the core of two other Berio compositions, ''Chemins II'' for viola and nine instruments (1968), and ''Chemins III'' (1969), which adds an orchestra to the forces of ''Chemins II''. [[Walter Trampler]], for whom ''Chemins III'' was composed, believed it was in fact composed first, and the ''Sequenza'' was then extracted from it {{harv|Uscher|1982–83|loc=286–87}}. 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" {{harv|Smalley|1971}}. Two further works were evolved from ''Chemins II'': ''Chemins IIb'' for orchestra (1969) and ''Chemins IIc'' for bass clarinet and orchestra (1972) {{harv|Osmond-Smith|1975|loc=871}}.', 4 => false, 5 => '==Analysis==', 6 => '''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 {{harv|Smalley|1971}}.', 7 => false, 8 => '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 sections may be summarized as a pattern of AA'BA<nowiki>''</nowiki>B', with the A' and A<nowiki>''</nowiki> sections each divided into two subsections. 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. The A' section develops the chordal gestures, while the B section focuses instead on the melodic ideas, using the tremolando gesture as an articulative device at first. In a reversal of the process found in the exposition, the tremolando chords gradually increase in frequency over the B section. A<nowiki>''</nowiki> restates the chordal material and, in its second subsection, introduces a heightened level of activity. The concluding B' section then serves as a coda {{harv|Holmes|1981|loc=73–75}}.', 9 => false, 10 => '==References==', 11 => '* {{wikicite|{{ref=harvid|Holmes|1981}}|reference=Holmes, Reed Kelley (1981). "Relational Systems and Process in Recent Works of Luciano Berio", 2 volumes. PhD diss. Austin: The University of Texas at Austin.}}', 12 => '* {{citation|last= Osmond-Smith |title=Berio and the Art of Commentary|first=', 13 => 'David |work=Musical Times|volume=116 |issue= 1592 (October)|year=1975|pages= 871–72}}', 14 => '* {{citation|last=Smalley|first=Roger|year=1971|title=Berio Sequenza VI; Chemins II; Chemins III. Walter Trampler (viola)/Juilliard Ensemble, LSO/ Berio RCA SB 6846|work=Musical Times|volume=112|issue=1544 (October)|page=973}}', 15 => '* {{citation|last=Uscher|first=Nancy|year=1982–83|title=Luciano Berio, ''Sequenza VI'' for Solo Viola: Performance Practices|work=Perspectives of New Music|volume=21|issue=1–2 (Fall–Winter/Spring–Summer)|pages=286–93}}.', 16 => false, 17 => '[[Category:Compositions by Luciano Berio]]', 18 => '[[Category:1967 compositions]]', 19 => '[[Category:Compositions for viola]]' ]