Fratres by Arvo Pärt is one of my favourite pieces of music. The analytical meets the aesthetical as Pärt takes us on a meditative, harmonical. This one note, or a moment of silence, comforts me. I work with very few elements – with one voice, with two voices. I build with the most. Arvo Part’s Fratres and his. Tintinnabuli Technique. By Rade Zivanovic. Supervisor. Knut Tønsberg. This Master‟s Thesis is carried out as a part of the education.
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It has been used in numerous movie soundtracks and dance shows. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. Listening to multiple incarnations back-to-back provides a unique experience.
Much like the international date line in the pacific ocean, we add a seam, where the notes get transposed one octave. This rotation, two steps at a time, continues for the entire set of nine segments. Notify me of new posts by email. The recording was part of a birthday present gifted to me Leo’s mother nearly quarter of a century ago. What a truly breathtaking composition! This one note, or a moment of silence, comforts me. I’ve never come across this in my readings about Part and I am very curious, it being one of my favorite pieces to listen to and play.
I love your version above the actual concert version I found online – your version emphasizes the otherworldly chord progressions which I love the most about this piece.
We want the middle voice to sync up to the low and high voices after one complete revolution. Then, if they are the inquisitive, puzzle-solving type of person, they will try to understand the patterns rationally as well.
And that is why I call it tintinnabulation. That version too can be performed by various instrument combinations, such as a saxophone quartet or four percussionists among many others.
I love it – and I suspected something of the sort – but I had no idea just how exquisite was the nature of the composition.
Arvo Pärt’s “Fratres” in Eight Versions
I’ll be playing it in a concert and would like to include this information in my programme notes. Someone else, I believe, is saying that the synthetic timbres match the “unworldly chord progressions”, well, that is just exactly how I feel about it.
Good work Linus K’plah. Thanks for the in-depth information on Fratres! The following diagrams show the starting fratrees for the falling and rising halves of segment number two.
Share Facebook Twitter Share. We can clearly recognise three voices: Commissioned by Salzburger Festspiele Here, it is performed by the Berlin Philharmonic cello section:. Rather than A-C, which sounds correct. The high and low voices, however, play notes from the harmonic D minor scale.
Don’t feed the trolls. Scored for violin and piano. Thus, in the first bar we get: Vertically, the piece is divided into two drones an A and an E that last throughout the piecethree moving voices low, middle and high and some percussion claves and bass drum.
We look forward to seeing you again on 2 January. The complex and many-faceted only confuses me, and I must search for unity. For the eight falling chords the chords that build up the first half of the first segment frtres, each voice simply moves around the circle, counter-clockwise, until it completes a full revolution at the eighth chord. I hear it in a concert at Lent. Thanks for your wonderful page. I frstres here as a result of this thread on reddit: Thank you for this page!
Fratres – Arvo Pärt Centre
Outstanding work, beyond words. In order to understand the algorithm behind Fratres, we just need to figure out how to form the eight chords that build up each segment half. To get the low, middle and high voices for the following segments, we simply move each starting point two steps around agvo circle, in the counter-clockwise direction.
This basically means that some voices are restricted to playing notes from a particular triad in Fratres this is the A minor triadwhile other voices play melodies. I’m a little confused about the middle voice. But this circle contains fourteen notes rather than seven, so the middle voice does not play its own retrograde in the second half fratrres the low and high voices do.
Reading the comments once again I just realized that I agree with Lukas from Prague’s statement about how this particular 8 bit sound suits this music so well that it pat become his second and my favorite version.
But when I looked it up on Wiki the text citing your analysis seemed a little dismissive of the piece where it says: I hope Lukas from Prague doesn’t read this last sentence about how my former favorite version was the one for male voices and cellos by the Schola Gregoriana Pragensis. This delicate balance is maintained using the C natural from the triad and the C sharp from the melodic voices.
If you downloaded the SID file, note that there are two subtunes. Discuss this page Disclaimer: Thank you for this. Its meditative mysticism recalled the timeless serenity of Renaissance polyphony while arriving at a place which was completely new. Some striking dissonances between the drone and the other voices come out in this version:.
Arvo Pärt: Fratres | Great Noise Ensemble
Alas, three doesn’t divide seven, so we’re forced to have some sort of assymmetry in this circle. You are completely awesome.
I love your analysis