Inspired by an excerpt from Study No. Consider this track a long awaited sequel to this one which prompted Nancarrow expert Kyle Gann to post about it here. Click Here to listen to the audio. I placed each sound on the timeline manually and by ear to ensure accurate placement without the reference of grids or quantization. In concept, I find the process quite similar to collage-art or the building of a mosaic.
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Conlon Nancarrow - List of Works. Studies for Player Pianos. Pieces for Performers. Transcriptions for Ensembles. Transcriptions for Two Hands. Transcriptions for Four Hands One Piano. Transcription for Four Hands Two Pianos. Transcription for Seven Hands. Studies for Player Pianos with YouTube adresses. The Studies for Player Piano are merely characterized briefly below. Cambridge, UK: Cambridge Univ. Press, Polyrhythmic composition with more than two hundred time changes.
Slow blues with two bass parts in tempo ratio of Same melody line but bass parts in tempo ratio of , Player piano arrangement of the fourth movement of the Suite for Orchestra circa It is apparently not identical to the Boogie-Woogie Suite. A twelve-bar ostinato in the bass is repeated ten times and superimposed with various melodic lines. Two-part harmony at the beginning but ending in thirteen parts.
Striking rhythmic structures alternate with lyrical passages. The eight-part composition ends with racing arpeggios. Most of the composition is in three parts. It was also the first time Nancarrow dispensed with bar lines and conventional notation the duration of the notes is indicated by lines behind the note heads.
A blues melody sounds above a series of chords in the left hand. Originally in ABA form. The first section was dropped in the revised version now considered authoritative. On the first page of the manuscript, which still uses conventional bar lines, there are thirty time changes. Melancholy flamenco melodies are accompanied by stylized guitar arpeggios and the rhythmic clapping of flamenco dancers.
Nancarrow never published the music for this study. The first part begins at tempo 88; shortly thereafter the second part enters, two octaves and a fifth higher, at tempo Two-part canonic study with a tempo ratio of The voices are three octaves apart and the faster meter alternates between the two parts, so that they begin and end together. Three-movement canonic sketch. Three-part canon. Two -part canon. The work can be seen as a precursor of Study No.
Three-part canon with the same tempo ratios as No. The entries of the second and third parts is timed such that the three voices end together. Strict two-part canon with the voices moving a different speeds.
The bass part begins slowly with a twelve-tone row at about four notes per second. Shortly thereafter the treble part begins at a speed of thirty-nine notes per second. Whereas the bass part accelerates continuously, the treble part decelerates at the same rate until both voices reach the same pace around the middle of the composition.
Then the bass part overtakes the treble part and the piece ends with a hurricane of sound in the bass part at beats per second. Until the middle the speeds increase constantly, but then they decelerate at the same rate until they return to their initial speeds at the end. As in Study No. Predominately tonal three-part canon. In the middle section the voices condense into aggregates of sound such as rapid repetitions, chains of trills and glissandi.
Although it contains canonic elements with voices in different tempos, it is dominated by a rhapsodic character. Arpeggiated harmonic series open the work, which exploits all the possibilities of the player piano. Racing series of pianissimo notes produce clouds of sound. Several aggregates of sound suggest that Nancarrow used graphic elements when punching the roll. The frequent changes in dynamics and the use of the sustaining pedal are notable. The piece ends in a tornado of sound at two hundred notes per second with the right pedal held down.
Seven-part canon with a tempo ratio of , notated with whole notes with no rhythmic differentiation. The composition begins with an ostinato at a fixed speed around which are grouped as many as eight parts at different speeds, in some cases accelerating or decelerating. Nancarrow saw the ostinato as the ticking of an ontological clock world clock with events running along beside it at different speeds.
The parts do not accelerate continuously but rather in established steps. For the musical material Nancarrow employed scales at different speeds. He introduced chords at regular intervals to provide a temporal orientation. This study has as many as eight parts with staccato repetitions of notes at various speeds. The work recalls the ticking of clocks at different rates. The composition was never notated, though Nancarrow did make a recording, which has since been released by Other Minds on OM This three-part canon has three movements: fast, slow, fast.
The lyric middle movement is framed by two rhythmically structured sections. Two-part canon with a tempo ratio of the square root of two 1.
Even so, the different speeds are not restricted to specific parts: rather they alternate between the parts such that the two voices begin and end together. Calmly striding series of chords determine the character of the composition for long stretches and only at the end does it become livelier.
Nancarrow considered Study No. Circa An example of different fixed speeds in specific voices. In this four-part canon all four parts are absolutely identical, apart from their speed. The first part begins in the bass at tempo 85, followed by the second at tempo The third part begins at tempo 95 while the last part, the treble voice, is at tempo The faster parts pursue the slowest one and around the middle of the composition all four parts meet.
Then the faster voices overtake the bass part and the fourth voice ends first, followed by the third and second parts. The slowest voice, the bass, concludes the work. Twelve-part canon with twelve different speeds that correspond to the ratios of the vibrations in the notes of a chromatic scale. Two-part canon with a tempo ratio based on the irrational natural constants e 2.
Piano 1 plays 40a. Piano 2 enters about twenty seconds later and also plays 40a, but more quickly, so that Pianos 1 and 2 reach the final chord at the same time. Premiere with two synchronized player pianos on October 14, in Donaueschingen. Both canons are played by both player pianos according to a precisely determined tempo scheme.
Premiere with two synchronized player pianos on March 20, , at the Westdeutscher Rundfunk in Cologne. Commissioned by Betty Freeman. Premiere on November 2, , in Los Angeles. Commissioned by Betty Freeman; completed in Premiere on December 6, , in Los Angeles. This work, originally in five movements, was written in —83 and was premiered on January 30, , in Los Angeles. Later Nancarrow decided the twenty-minute piece was too long, so he rejected three of the five movements and wrote a new movement.
This three-movement version is considered a second Boogie-Woogie Suite. In this study Nancarrow uses a technique that goes back to the American composer Henry Cowell: After rapid chromatic glissandi unplayable by human hand, most of the notes are suddenly muted; only a few of the notes resound as a chord.
Cowell used this technique in Aeolian Harp. Commissioned by the European Broadcasting Union. Premiere on May 12, , Radio Bremen. Premiere with two synchronized player pianos on October 17, in Donaueschingen. With this three-movement, jazz-influenced composition Nancarrow applied unsuccessfully for the Grawemeyer Prize.
For that reason Nancarrow wanted to rework this piece into a three-movement work for player piano and orchestra. Ultimately he was not able to realize this desire. Nancarrow used the same tempo ratios and the same thematic materialin all the movements.
Conlon Nancarrow Sheet Music
Conlon Nancarrow - List of Works. Studies for Player Pianos. Pieces for Performers. Transcriptions for Ensembles.
musings on nancarrow
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