Scribd Logo
Upload

Welcome to Scribd!

  • 164 views

    Notes of Voicelessness For Piano, Beat Furrer

    Uploaded by

    Luiz Vinoza
    Voicelessness is a composition for Piano, by the composer Beat Furrer, composed in 1986. Below is a formal analysis and notes derived from the harmonic and melodic study of the score.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Notes of Voicelessness For Piano, Beat Furrer

    Uploaded by

    Luiz Vinoza
    164 views9 pages
    Voicelessness is a composition for Piano, by the composer Beat Furrer, composed in 1986. Below is a formal analysis and notes derived from the harmonic and melodic study of the score.

    Original Title

    notes of Voicelessness for Piano, Beat Furrer

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Voicelessness is a composition for Piano, by the composer Beat Furrer, composed in 1986. Below is a formal analysis and notes derived from the harmonic and melodic study of the score.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    164 views9 pages

    Notes of Voicelessness For Piano, Beat Furrer

    Uploaded by

    Luiz Vinoza
    Voicelessness is a composition for Piano, by the composer Beat Furrer, composed in 1986. Below is a formal analysis and notes derived from the harmonic and melodic study of the score.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 9
    At a glance
    Powered by AI
    The piece has a minimalist style with a slow progression of time and uses limited notes across different registers of the piano.

    The piece is divided into three sections with changes in phrasing and range between different systems.

    The chords start narrow and become wider as the piece progresses, shifting between low and high registers.

    Ivan Liuzzo

    Analysis – Voicelessness (B. Furrer)

    Voicelessness is a composition for solo piano written by Beat Furrer in 1986.


    The piece length is 10 circa.

    I concentrated my analysis on the harmony and on how the registers of the


    sections are constructed.
    First of all, the composition has a very minimal material. The notes are carried
    throughout the staff.
    The reading of the score must be in two staves (which I will call System). The
    player will play the first stavesand once the staff is finished, the lower staff
    will form a new "system", becoming the upper staff, and a new line is added.
    Only on page 4 will the system become 3 staves, once finished, it will return to
    reading at two staves, untill the end.

    On a perceptive level, the composition is almost as if it belonged to a modal


    system, with a light character, which recalls the tradition of the nocturnal.
    in addition, the very limited use of notes (both in quantity and space) and
    overlaps, emphasize a very slow passage of time.

    I have reported the heights written as a chord, each corresponding to its line,
    or staff (upper or lower, the classification of the resulting intervals and the
    “scale” created by the combination of the staves.

    An obvious thing is the departure of the chords and their intervals in a narrow
    position(also block chord), and each system tends to widen, up to the maximum
    extension and even reduction of the notes used.

    I have divided the composition into three sections called: I, II, III
    I

    Section I is on the first page and is made up of 4 systems.


    At the level of musical phrasing I notice a change in system 3 and system 4.

    The piece start with a small cluster between the lines:


    although the lines have an interval of a major third, in the encounter it is as
    if they became a minor second:

    B – C ; D# - E

    But it sounds like a melody.

    the first system has the range between the root note and the top note is a 4(B-
    E); and the notes are 4

    The second system has a 6th major as range and 6 notes

    The third system has a 6th major as range and 7 notes

    The fourth systems has 7th minor as range and 6 notes

    -------------------------------------------------------------------------------+
    II
    Section II is on pag 2 and 3: pag 2 is made by 8 systems.
    I found a musical changes at the 4th system(called II 1c); at the 5th (II.2 and
    II.2c) and the 7th(II.3).

    the second movement sees a gradual increase in values and rhythmic intensity.
    At the same time the register begins to shift towards the high.
    The rhythmic climax in this high register is then "slowed down" and dilated by
    the entry of the low register (so far never heard) in which the two notes that
    make up an interval of 7 major (C - B), conclude the development that has taken
    place and introduce to the last part in which the piano is played for all the
    registers and with the use of very few notes.
    III
    Section III is made by 5 systems: the second has three staves.

    I found a musical changes at 3rd and 4th systems.

    this part is characterized by the repetition of the note C (inherited from the
    last system of II): this note is played at different pitches and registers of
    the piano. The only different note is the B, often creating tension from the
    minor second or major seventh interval.

    --------------------------------------------------------------------------------

    You might also like